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I was one week on the C-Echo 5 or 6 years ago... it was not the cleanest I saw... what you say is really good. Thank you for the information..

I haven't checked anything online, but I believe this is the question that all underwater accessory manufacturers for GoPros will have to answer and probably they are working on it already. Mainly Inon and AOI. Will the wide and macro wet lenses be able to cover the 1" sensor? AOI had just introduced that universal housing with the interchangeable internal camera template. Will it be able to fit the new GoPro Mission 1?

Thanks to all, I'll have to get a read on the L10 section when I have some dead time ( I am using for the last days my setup in Egypt, part of the reason I change, I found a buyer 😁) I am still not excluding the mission 1 option, but to really consider that, I need to be sure, that the lens adaptors for the inon lenses will be available in the near future. And the price also is a clear decking factory, since by the time I add the cost of the 3 lens, + the new mission 1, I am probably better spend my money on the compact option

⬆️⬆️ Like Davide - in your situation I would go for a Lumix L10 - it's almost what I did a few years back, building a rig around the Lumix LX10, but the new L10 has so much to offer. You can work with this camera for a few years for sure, and go from wide to real super macro on the same dive if you're so inclined (in reality you probably won't). This is the amazing thing about compacts. And full manual control. Two major downsides: 1. weight - compacts are bricks in the water and you'll need a lot of + buoyancy 2. battery life for video

😱 good point about disconnect thank you! Another thing to find out for sure. 👍 Yep, WB button exactly where is needed. I am so used to this position from A1 - custom button 3 next to the Menu button.

Wow. Speechless. One thing to live through and another deal with it emotionally in memories later on. Good luck 🍀 On the liveaboard as we speak. In Red Sea. It seems like they forbid use of charging in the cabins in Egypt so much so that our boat C-echo has no plugs in any cabin. Just light switches. Not that fires would not be starting by boat electrical system in engine rooms or elsewhere or in kitchen but a good step nevertheless.

Sobering report. I was on the Emperor Voyager mid March. That smoke, three breaths and you’re passed out. Five and you’re pretty much dead.

I fear even the Kenko TC is not possible with native Sony FE lenses. As far as I know, the Kenko TCs are produced only for Nikon and Canon EF, see e.g here: https://kenkoglobal.com/product/teleplus_hd_pro_1_4x_dgx/#specifications

Hello, I have a rig just like your, GP12 and wet lens by INON (macro and wide) with floating arms. I was considering the new Mission 1 but I'm not sure about the availability of lens adapters by the manufacturers. For my purposes GP system is the right choice Ciao

They already have a 10mm full-frame MF fisheye - https://7artisans.store/products/10mm-f-2-8-ii-ultra-wide-angle-full-frame-fisheye-lens-for-e-l-r-z-1 The projection is stereographic, 185 diagonal, 15cm, f2.8-16, 602g. This new lens is 15cm f2.5-16 so the design seems to have been slightly updated, but I expect it to be a full-frame lens.

Hello, like in the title, I think I am ready to start considering an upgrade on my equipment. I am currently using a GoPro 12 with 3 inon wet lens, with tray, floater, and a tripod for shooting macro and video with fixed camera I am now evaluating what will be my next system, since with the new mission 1 realese with new form factor, and new high price, I am oriented to go on the next level, but I feel overwhelmed a bit by the choice. I don't have an exact budget yet, but since it's an upgrade on the current one, I start evaluating system from 2500€ and up. I'd like a suggestion on the camera body, lens option, tray and lights, but mainly I have to decide the camera. I'd like to keep the GoPro flexibility under water, where I can swap the wet lenses from wide, to macro, to super macro, ( by this I mean I'd like to have a system that allow me to be able to shoot almost everything without the need for example of a lens change inside the housing), to have a good balance between performance and size, without being too heavy to travel. Also, the size of the setup underwater would ideally be not much bigger than the current one, to allow me to film in small spots. Here is a picture for reference of the current setup

That is what I am, thinking, otherwise the FLs make no sense.

No I'm talking about the Canon 8-15 with Metabones in reply to the original question about a Canon 8-15 with Metabones, with 2x nose fitting into the Metabones which requires the latest version if I recall correctly as earleir versions were smaller ID. I 'll edit the text to make this clearer.

The biggest issue is actually that if they make this lens in SONY mount, it will mount directly to a Sony body, no need for a converter incorporating the additional back focus needed for the DSLR lens. This is what allows the Canon 8-15 to work the Sony TC with the nose of the TC inside the converter. I think also the exceptional optical quality of the Canon 8-15 helps it work as well as it does with the 2x. TC magnify the image and the aberrations so the lenses that work well with them are exceptionally good optics.. Certainly be nice to have a native Sony fisheye, but it would be restricted to the Kenko TC, which as I recall doesn't have as good optical quality in the 2x version compared to the Sony TC.

The Backscatter HF-1 Float is done. I've done several test dives on a pair of floats and they worked well. I am making another pair now that drops about 20 more grams of buoyancy. This morning I designed the Atom float and sized them to provide 140 grams of buoyancy against the 160 grams weight of the Atom's in water. Leaving it 20 grams negative. The draft print came out great. I trimmed it bit more after the draft to fine tune the target buoyancy. Atom Float +140 grams:

Hi Paul, Honestly, the best starting point is right on the Blackmagic Design website. Their official training section has free dedicated video lessons just for the Color Page. You can even download the Colorist Guide PDF along with the original media files so you can practice on the exact same clips they use. For YouTube channels that show real industry workflows: Cullen Kelly or Darren Mostyn. their tutorials are very technical and professional. But if you need something a bit more accessible, Casey Faris is great for beginners and intermediate users. But I agree with you, underwater color grading is indeed an entirely different discipline. Water acts as a massive cyan filter that selectively absorbs light. Most generic underwater tutorials fail because they simply push the temperature slider towards orange. This breaks the image by introducing artificial color noise into channels that contain zero actual data. When dealing with 10-bit Log files shot underwater, you have enough data depth to rebuild the image, but you need a specific approach rather than standard primary wheels. Usually I get that magenta fringe while trying to remove the green. What happens is actually color math. Magenta is the exact opposite of green on the color wheel, so when you use the global tint slider to subtract the green, the software automatically pushes the entire image toward magenta. Because your underwater footage is already missing all that red information, this adjustment will not give you a neutral white balance. It just ends up turning your background water purple. Another thing to keep in mind is that relying on the primary temperature and tint wheels will often just break the image. Instead, open the curves panel and use the Hue vs Hue curve. Select the specific green wavelength of the water and shift that point slightly toward blue. This changes the green cast into a standard water color without bleeding magenta into the rest of the frame. You can also use the Color Warper for this, which lets you do really precise vector manipulation without messing up your global white balance. Just grab the control points in the green and cyan regions and pull them directly toward the blue region to neutralize the green. Hope this helps. Ciao

Sounds like an ASP-C that is mislabeled as FF to me

10mm would normally seem like an APS-C fisheye 1.5X=15mm 1.6X=16mm fisheye. If you look for reviews of the 7artisans 10mm FF fisheye it is 185 degrees and covers the full frame, it also gets very good reviews.

Well I currently have the N100-N120 and metabones V setup; but no lens, dome or TC. So I'm not invested too much in it if this offers a more compact or cheaper option with similar IQ.

10mm is oddball for FF, like kind of a circle? Seems like a lens with very limited usefulness for us.

Recently I've moved from Final Cut Pro, to Adobe Premiere and now with Davinci Resolve. It's super powerful and I'm enjoying it. I just wonder, does anyone know of some intermediate to advanced tutorials or courses I can sign up for? I would love to really dive deeper (pun intended) in colour grading, dynamic KeyFrames, power windows panel, etc. I also find underwater videos quite different from land-based videos so most of the tutorials on YouTube are a bit hard to follow (land-based videos) What would I like to achieve? I would go up a few levels from basic colour grading like what I have here of some manta rays. I shoot with a Sony A7V, most of the time with slog3. Any recommendations welcomed! WhatsApp Video 2026-05-24 at 19.30.25.mp4

Not sure how 7Artisans came up with 10mm for full frame fisheye but they already have one that is MF and 185 degrees with minimum focus of 15cm.

There are several factors: #1.: the prodruding element(s) of the Sony TC(s): the mechanical exception, i.e. TCs that work with almost any lens, are the Kenko TCs, that do not have such protruding elements. Native TCs (Sony, Canon EF, Canon RF, e.g.) have protruding elements that make it impossible to mount the TCs on most lenses, except the lenses for that the TCs have been designed for... #2.: The electronic communication of Sony TCs is often blocked by the firmware, even when the native TC fits mechanically, unless it is a lens that is approved by Sony to work with the native TCs... #3.: An exception is the arrangement Canon EF 8-15mm/Metabones V (Canon-EF to Sony FE)/Sony TC (1.4x or 2x), where the glassless adapter provides the space for the protruding element of the native TC(s) and the camera is communicating without problems with the TC/adapter/lens arrangement (It must be said, however, that this communication could potentially stop to work with any firmware update of the camera)... => It would be great in case it is possible to use the new AF fisheye lens with native Sony TCs, but it would be a very pleasant surprise for me in case it is possible (even if it is possible mechanically and electronically, there remains to be seen how the optical IQ is)... Wolfgang

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