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That is very nice indee, crisper and sharper ❤️ I know you're shooting on a tripod at a fixed angle here, but really looking forward to seeing some pans and camera motion with the new lens config, as this was where the GoPro angle warping was/is generally really bad Your blur issue is odd indeed - could it be an internal lens condensation issue because of the temperature difference between the cam and the environment when shooting for extended durations?

Out of curiosity, would anyone know what cinema camera is it seems to be mounted on here? Housing looks like a RED Digital Cinema V-Raptor housing - not sure if the lens here is the FCP-1 (or is that the WACP-2?), but if it is indeed, I would love to see some video footage shot with this combo!

A further issue is that Apneagraph is actually trying to do the transfer without downloading the files to the phone (Ideally, without having to use the phone as an intermediate storage ) which would mean simultaneously recognizing two peripherals, and doesn't seem to be possible on a phone in general. One possible workaround would be using an SD to Micro-SD adapter as a card reader on a phone with a micro SD card slot, while connecting the SSD OTG, but iphones have never had SD cards slots.

I see - might be tricky without transfering the files to the phone first. Apple support has a workflow here where you connect the camera in reading mode to the iphone, transfer the files to the iphone, then transfer the files from the phone to the SSD (using the Photos app) https://support.apple.com/en-gb/guide/iphone/iph480caa1f3/ios Tricky not using the iphone as an intermediate storage, as you would need to get two drives connected recognized. Even the Android workflow i posted used the phone as intermediate storage (which is probably safer). It would be easier if iphones had SD card slots (in which case you could try with an SD to micro SD adapter)... Major issue is that it doesn't really look like it's possible to simultaneously connect two actual drives to one iphone... Maybe a cheap working option would be to get a dedicated Android phone just for that, or use that old Android tablet of yours.

I use a laptop so no direct experience but remember reading of an interesting phone-based workflow a few months back. Here is a copy paste: I have a pair of 64GB SanDisk Extreme Pro (300 MBs) cards in my GH5. Like all of us, I try not to video just anything whilst underwater, obviously, but still with my usual GH5 codec with a bitrate of 150 Mb/s I reach about 10-15 GB of data if the dive is good. Carrying even a small computer on a trip is a headache due to luggage restrictions. I do love new bits of tech, but.... the solution I've found is way cheaper than this lovely-looking Trainer. I just put my camera in playback mode and connect it via USB-C cable to my 3-year old Samsung phone (A71). Both cards then show up in "My Files". I can then copy files to my phone, where I have a 256 GB micro SD card + internal storage. Once that's done, I "unmount" the USB connection, then connect a tiny Samsung 1TB SSD drive (80 euros, same as each of my SD cards), also via USB-C and transfer the camera files before deleting them from my phone (apart from any pictures I want to edit and share). The transfer rate seems to be just under 1GB per minute of footage. So for a full "64" GB card (in reality something like 59) the entire operation would take about two hours I think. However, if I just do it at the end of each diving day rather than waiting for a card to be full it's not a problem. On a liveaboard, it's basically the time to have a shower, dinner + a beer. I guess the transfer would be faster with a newer phone. original source

The insta360 Ace Pro is surely interesting, but lacks most manual functions which make compact cameras so interesting for our purposes (especially aperture control, which is set at 2.6, zoom lens and more). This definitely places it the action-cam category, I think. So called "point and shoot" compact cameras are a dying breed, choice narrowing down to action cams and phones or bigger, interchangeable lens cameras (M4/3 and up). Here are some videos on the subject. It's a shame, because in our beloved underwater photo/video niche activity, full manual controls, a zoom lens and a bigger sensor definitely still have a role to play... At least still shooters have the Olympus TG series as some sort of hybrid - for video, much less options.

Darn, now you both have now got me jonesing for an AOI lens I don't need at the moment.... That is pretty much spot on 😆

Great news for the AOI, finally something which can help with the corners then. I've also tested cropped wide in the past - while it's certainly done with a sensor crop, there's something else at play when switching fields of views and the fisheye-style distortion is difficult to correct in post. It's clearer on land footage comparisons vids like this one:

Thanks - sorry to hear the forum swallowed your post, had that happen a couple of times as well, it's weird... I would be very concerned about lag - I have used the Panasonic wifi control app a couple of times on land with my phone and laptop, which works fine to control the camera, but lag was really noticeable, and it didn't seem like a practical remote display solution because of that. The other issue i can see is battery usage and possibly overheating. Wifi functions typically use a lot of battery, which is really of the essence for video, and typically generate quite a lot of heat ( when using a smartphone as a wifi hotspot for instance). This could definitely be an issue UW, on both sides of the loop. It's a very tempting approach for cameras that don't offer practical HDMI options (compacts, some action cams for instance), but probably needs to be tested on a case by case basis cheers

Here's a small macro clip where I tried working with slightly different subjects and angles, sometimes a little more abstract. Shot in Amed, east Bali, in 4K 30fps, CineD profile, edited/graded in FCPX Equipment used: - Panasonic Lumix LX10 (LX9/LX15 in some locales) compact camera in a NALX10 Nauticam housing, AOI UCL-09 +18.5 diopter, Inon UCL-165M67 +6 diopter and Nauticam CMC-1 (the skeleton shrimp clip if I remember - I just got this lens and will be working with it in the coming weeks) - Backscatter MW 4300 video light and two Archon D11V2 video lights - Homemade quadripod cheers ben

Welcome Andrei, glad you made it to the otherside safely

On the budget side, I'd stayed at the Ibis Budget in Clarke Quay a few years back and that was quite alright for the price, considering it's Singapore Our main port of call in the area is actually Kuala Lumpur, which is a bit more messy, but also more budget friendly and a bit more fun for us (and the food is amazing - like in Singapore, it's a mix of Chinese / Malay / Tamil-Indian, but they've started incorporating Levantine food as well since the population movements caused by the Syrian civil war. It's taking a unique local twist... ) Can't help more on Singapore you need any tips on KL don't hesitate.

Yes definitely the warping is really terrible on the side - it's been like this since the stabilisation was introduced on the 5, and really shocking coming from the 4.... Lots of improvements but also corner distortion when panning. I wonder if the Inon/AOI lenses will help with this, as this would be fantastic. I think linear fov is fine though - you can always switch to wide for a larger view but in many situations I prefer linear and rarely shoot in wide. I'm not using the gopro these days but these are some of the last clips I shot when i was working in Palau last year, showing different WA shooting scenarios, all in linear. These are on the GP7, not on the GP11, but unless i'm mistaken I don't think the field of view options have evolved much since linear was introduced on the GoPro5 to replace the medium fov) The warping corner distortion on the Jake seaplane shots on the 2nd vid is pretty horrible for instance, it really stands out when there is a little camera movement, panning especially. If this is has improved on the new models, it would definitely be a major reason to upgrade. cheers

Great - happy it worked out in the end! Looking forward to some first impressions/feedback on the lens, see how the trout footage compares to what you shot so far.

Thanks Bill, this is really interesting, and really like the alternate tale on the role of lure lights. Nannette's blackwater vids are fantastic - if you don't mind, I'll post some links here for reference: It would be great if you could also share some technical info on how she approached these blackwater video shoots on the Sony handicam (basic settings used, light positioning for instance), and generally what seemed to work best in terms of getting good shots on video, where to wait etc.... Thanks again! Ben

I don't know, but it seems to work for the proud owner, since he had it made this way 😄 this is his work: https://www.instagram.com/diveivanov/?hl=en the ball ends are all used as i know he has both strobes and video lights on his kit. cheers

Thanks for sharing. On white balance, if you work on the footage in post (which is time consuming, especially if you're planning on sharing the footage with customer, so maybe not really what you're after...), you can get good results by setting to native then white balancing in post (if you don't have a grey card to show the camera you can balance on sand, bubbles, tanks, this usually works well). Results are quite different. To give you an idea, here are some examples shot nearby on the Sea of Cortez when I was working in LaPaz - so somewhat similar sea conditions to yours, but also with greenish water early in season. They're shot in ambient light flat profile (but on a GoPro7 with a UR-Pro Cyan filter) and white balance is rebalanced in post, as the first step of the colour grading process. Sea lion and sardines Green turtle at La Salvatierra (this one is interesting colour-wise as it's deeper, on the sand, so 18m+ / 60ft depth) Sea lion morning routine School of jacks in Cabo Pulmo I suspect the GoPro 11 would give really interesting results when white balancing in post. cheers ben

I keep mine on my arm, with the watch face facing inside, but recently came across this homemade contraption which looks interesting:

Wow - even more interesting - i googled it apparently it's dusky sharks and sandbar sharks mostly https://www.forbes.com/sites/melissacristinamarquez/2019/02/12/escaping-the-cold-sharks-huddle-around-thermal-power-station-in-israel/?sh=74f606973180 There's also a video of Orot Rabin : This sent me down a rabbit hole on the eastern side of the Mediterranean - apprently duskies and greys are also frequently spotted off Beirut nowadays, something I no clue about... There's a video was taken off the bay of Jounieh (!!!), apparently. and there are plenty of others sighting videos on Youtube, and some dive sites off Beirut are even called "shark point" nowadays: https://seaworldblog.wordpress.com/2013/07/27/did-you-know-that-lebanon-is-also-a-destination-for-scuba-diving/ There's definitely something going on.... thanks for sharing this!

Is this in the Red Sea? What sharks are showing up?

Take a look at this 😉 https://youtu.be/MxjbnBCYiMY?feature=shared&t=77

Welcome - looking forward to seeing some Gordo Banks footage if you have some! 😃

As a sidenote, in the video world, FCP is also a very common, well-established abbreviation for Apple's editing software, Final Cut Pro - since version 10 it's also commonly abbreviated as FCPX

Nice catch! And nice extended battery housing... Budgets are often tight these days, and there's quite a lot of subcontracting going on in the documentary world, with teams working as independent production companies- I think this might also be the case for some BBC projects... When I was in Palau we actually had a BBC team over to shoot the moorish idol spawning - wasn't helping out on their boat as I had other work obligations on those days (😢) but did see them setup. Red Komodo in a Nauticam housing if i remember correctly and... GoPros (but I think i was only the 8 or 9, not the latest), on a plank contraption for in-water shots from the boat. Hopefully their sequence will make it onto the next Blue Planet, as intended!

Yes, you're right Davide - I have more than enough light for smaller subjects, it's just an extension of this medium range which is tempting... But then again it doesn't happen that often, and frankly I'm not sure what a more wide angle like positioning of 2 cones of 4300lm lights - instead of single frontal one as the main light source - would have achieved. Good chance it might be wider but also less concentrated. The grass is always greener on the other side I guess... And I do have two smaller video lights on the side already, which opens up a lot of options when you have the time to try things and play with the positioning - in this case the crabs were already deep into it when I got there, so I just had time to quickly adjust exposure and the 3 lights to form a light pool and then it was all about following them around... The sequence was shot at ISO 125, so I have a bit of room, not to mention that I'm actually using a slightly tighter angle than the 180° rule as I find that it's actually more flexible and works well for critters (I think i was at roughly 100° but mum's the word 😉)