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They are amazing. It's the so called Golden Kelp (https://en.wikipedia.org/wiki/Laminaria_ochroleuca) and it's present on both shores of the strait but it's deep. It starts form 65m/213ft. The colony on the Sicily shore is the best (the ones filmed in this doc). Roberto Rinaldi filmed the Laminaria with his Canon C500 MKII. P.S. A tragic note. The researcher speaking in the video is Lorenzo Bramanti. One of the top experts on mesophotic systems in the Mediterranean and a researcher at the French CNRS. Unfortunately, Lorenzo died suddenly at the age of 52 in his home in Banyuls-sur-Mer, France, at the end of June 2026. https://reporterre.net/Lorenzo-Bramanti-chercheur-et-defenseur-des-forets-animales-marines-est-mort

Out of curiosity: what's the meaning of shooting @240fps?

This is in French but subtitles in English work. Some beautiful shots and i discovered that there are kelp forests in the Mediterranean?!!

I had once problems with condensation on a Nauticam 140mm domeport in a cold mountain lake on a rainy day: reason was a 120N extension where screws were missing (from factory). Few droplets of water came in (maybe half or quarter of a teaspoon), not enough for the vacuum or moisture systems to react, and this caused the condensation...

Hello all I've begun my transition to Sony with the A7SIII, and I'm curious as to what people using this camera or other Sony cameras ended up using when it comes to video shooting profiles. I've been digging into the archives, and there was a lot of excitement back in the day about S-Log3, but I shoot mostly macro and blackwater-type video, so it's either artificial-light dominant or fully artificial light (BW). I'm not convinced shooting in log will add much other than the hassle of handling ETTR exposure. I plan on keeping S-Log for ambient light or mixed lighting (ie wider shots), which will come one day when I'll have a wide lens, a boat trip planned etc. Not for now anyway. I finally got the A7SIII in the water yesterday for two test dives and shot in HLG3. Hybrid log seemed like a good compromise for grading: excllent dynamic range, but without LOG's exposure/ ISO issues. However, I'm not impressed by how it behaves in post. I'm on FCPX (no, I can't run DaVinci due to a big fat hardware issue - I need a computer update and don't have the cash for one at the moment), and the HDR-to-SDR 709 conversion is underwhelming. Dynamic range is certainly there (wow), but other than that, there is still quite a lot of work needed after the conversion. The image is still pretty much flat (not much changes), which could be due to Final Cut, but who knows. Other than trying to recover clipped highlights, I might not need as much DR. I don't really lift blacks and it's heresy for BW. Colours need a lot of saturation lifting, which is great for precision, but then again I could start with something of a less flat-base to grade with. Long story short, I can make HLG3 work, sure, but the question is: should I? This first test has made me wonder if I should shoot in standard picture profiles instead. I've read recommendations for Cine2 and Cine4, asked AI to search for published material, but it ended up hallucinating verbose pseudo-technical garbage that went nowhere, as usual with LLMs... I'm really curious as to what actual humans out there are actually using in this situation. Actual hands-on experience. I understand artificial light / macro / BW video is not the most common shooting scenario, but I'm really happy to hear what people have used, are using, or would use in such a situation. On my previous camera, the Lumix LX10, I was shooting in Cine-D with flatter settings, which worked fine (of course there were no log options, which narrowed it down quite a bit ˆˆ) Thanks!

It doesn't exist on their website so....

I have the GR140Pro and the G165II and my understanding, so far, is: No lens - focus between 50cm to 6m - perfect for general underwater landscape GR140 - focus between 15cm to 2,5m - perfect for walls/reefs wide sceneries G165II - no reference available but I expect something between close-up and macro. The question is how deep is its DOF. I hope for something like 10-60cm, anything less would not be for me. I will test the three configurations and see but in principle I like the idea of having some light softness outside the focus range because it directs the view on the subject. Maybe because I come from photography background, I have never been a fan of infinity focus, on the contrary, I always considered it as a defect. I believe the M1 has to be used differently than other action cams, paying more attention to focusing and framing, just like in photography, but that it not necessary a negative thing and I can understand that for someone it could be a problem. It is not easy to change the way we are used to do things. Of course, for now these are all theories, until I bring all below the surface and test them. One more week to go.

I am not sure I've understood the purpose of the blurry adjustment in post. Can you post also the clip with unadjusted blurry?

Ask and answered.

Is it possible to rig an AOI quick-release lens holder to an AOI cold shoe mount, possibly something like this or this? I plan on taking out the M52/67 threaded mount and rigging the quick-release lens holder to the cold shoe in its place. Originally, I bought two QRS holders to mount onto my arm sections to store my wet lens and macro diopter for when I'm not using them. However, I realized this would cause an uneven weight distribution which might make maneuvering the arms a bit more difficult, and I would not be able to fit enough floats on the arms to make my setup neutrally buoyant. I also figured I would need only one lens holder as I would probably be using either one wet lens or the other at a time, but not neither of them. Alternatively, I could mount the lens holder on another arm section attached horizontally across the handles of my tray, using triple clamps to attach both the horizontal arm section and both my arms. However, this solution is more expensive, so I am trying to make cold shoe solution work, if possible. I believe the QRS lens holder probably will be able to be bolted onto the cold shoe in place of the threaded mount, the problem then would be will the QRS holder be fixed in place on the shoe or will it spin. In the QRS holder for Ultralight arms, the lens holder is held in place by two prongs where the lens holder screws into the arm mount. I noticed on the threaded cold shoe lens holders that there are two holes that look like they might be used to interface with similar prongs. If anybody has both of these mounts on hand, could you test this for me please? PS: If you have the single QRS mount (as opposed to the twin mount), I believe you have to take the square nut out of the lens holder, which you might not want to do.

I see extensions which allowed Nauticam N120 to be used on a Marelux housing, but nothing for the other way round.

Nauticam focus gear for Sony 16-35 f4 ZA OSS. Tested in the pool and on a shallow (25' or so) dive. Works well with the Nauticam zoom gear co-installed. It's designed to work with the N100-N120 35.5mm adapter with gear knob. https://makerworld.com/en/models/3033166-nauticam-focus-gear-for-sony-16-35-f4-za-oss

I shot this last month at the Backscatter DSO in Little Cayman. It is from an Olympus OM-1 in an AOI housing, Backscatter Hybrid for lights. Wide was Lumix 8mm, Macro was m.Zukio 90mm. Would love any advice on how to make it better (besides my prize reef shark being a little out of focus...ugh). Lesson learned so far ... video is hard ... especially macro video!! So much on the cutting room floor.

So beautiful! Will be going there next year and hope to get some footage as soothing and beautiful as yours! :)

Yes - not sure how feasible it would be given space limitations. The power bank battery has a round, body-integrated push button on the opposite side: I'm also very interested in this here: https://thepihut.com/products/power-bank-keepalive-usb-c Instructions do say that it shouldn't be used with PD powerbanks, but not sure what the risks are with the Anker Nano's power delivery. This is beyond my limited understanding of electronics unfortunately. On of the other advantages of the systems is that I can just switch powerbanks - it's much easier to remove the powerbank than to remove the camera to access batteries, especially with a 100mm lens with focus gear.

Ok sweet! That looks like a really good setup you have there @bghazzal ! Thank you so much for the picture, that helps a ton and I like the way it sits reasonably close to the top of the camera body. It never occurred to me to use the top as a mounting point 🤦‍♂️.

Yes, Marelux to Nauticam in N120.

I wonder if you could rig some sort of non contact switch like a magnetic reed switch? I've considered that for the vacuum alarm so I can keep it sealed without killing batteries

Mission 1 PRO Geek Specs source: https://gethypoxic.com/blogs/technical/gopro-mission-1-gp3-image-pipeline?srsltid=AfmBOor-e-oIthDwYXOFHH8EzGzTZNlxCYO8LmyoYK1ITQtIKZ9LK70w

Wonderful! Glad you got it working.

You were absolutely on the right track, and that observation cracked the nut. It was just a tiny amount of dirt on the sensor that was messing things up. I got exactly the same response to cracking the back that you did, and kept trying to figure out how to reposition the lever or move the rubber eye guard on the viewfinder to allow better position. That's when I noticed a thin film of dust on the eye sensor. A quick clean-up with a Q-tip/isopropanol, and now the VF/LCD swich works perfectly. THANK YOU! Now I can assign the C3 button for something more useful. :)

Of note this is not present on the a7iii housing. So likely was a good idea that didn't work too well. I wish that I could do eye detection for the EVF because the I could easily use the LCD for settings like on a traditional DSLR

I see extension rings for using Nauticam ports on Marelux housings, is there a forthcoming extension for doing the opposite?