bghazzal

You mean like that expensive AOI UH-GPx that came out a few months back and some devotees have just invested in? 😅 It definitely looks like a heavy housing upgrade is unavoidable, so let's see how this is handled... Seriously, even with the best R&D department in the world, there's no way a reasonable company can keep churning out well-designed models at such a yearly rate... Call me grumpy, but it's ridiculous, and feels like it's more aimed at getting notification pings on social marketing media and surfing on FOMO than anything serious... DJI is more quiet (and a little slower on the update front), and importantly seems to be digging a little deeper on the technical side (as in potentially more useful features than gimmicks?) with its new line of products, which is slightly more reassuring. I wish someone would drop the "action" side together and just provide a small rugged waterproof camera with manual white-balancing options and basic focal adjustment options. Or just bring revive the compacts with a little waterproofing 😉

I'm sure the GoPro 14 will be better anyway 😁

I would definitely recommend DaVinci Resolve as well. It's really the most complete for colour grading, and accessible as the entry-level version is free IIRC. I use Final Cut Pro X, which is great, and allows me to do what I want, as it's more integrated than DaVinci on a mac - being nomadic at the moment I edit on an old macbook air, and can run FCPX on an external SSD hard-drive, with enough power/speed to edit 4K clips (using proxies for certain codecs). Unfortunately I can't get fluid playback on DaVinci, having tried everything including proxies, the CPU/RAM integration doesn't work on my underpowered system, so sticking to FinalCut for now. I can export a finished clip for grading in DaVinci, but it's too much work and I'm happy with what I can do with FinalCut. But in the future, I will switch to DaVinci when I get the chance. So DaVinci Resolve would be my first recommendation, for performance, flexibility and pricing, but if you're on mac OS, software like iMovie are limited but very accessible, and also a good introduction to FinalCut once you've outgrown limitations. FinalCut is also more user friendly than DaVinici, and really good as well, but for really advanced grading DaVinci is the way forward. The other major contender is Adobe Premiere, but I really don't like Adobe product workflows and subscription-based pricing systems, so wouldn't recommended it.

This one's nice, thanks for sharing - big fan of Decathlon 120L/100L trekking bags as well here, but nice to see new products that would do the job! The ones we have now are the 2x 120L FORCLAZ bags Lightweight, and built like a tank, and worth successors of the Quechua 120L trekking bags which we'd bought in 2014 (we still have one 100L), which have on small dinghies in remote areas of Indonesia, the works. It does have backpack straps, but with 23 to 32kg in there trying to carry it on your back is not a good idea... Last time I did that was from Sorong's old airport to the main drag to catch our early morning ride to the harbour, lesson learned, never again... 😅 Unfortunately, the new products in Decathon's Forclaz range are nowhere as good, so happy to see this Subea bag pop up as an alternative !

Hi there - I've been shooting with a (good - UR-Pro Cyan) red filter since the GoPro 4, and what works best for me are the following ProTune settings: ev: -0.5 white balance: native iso max: 1600, or if I can get away with it 800 color: GoPro color auto ISO (with max set), auto shutter the -0.5 ev helps avoid clipping when shooting up (say a manta passing overhead in the shallows). On the ISO front, an iso over 1600 is generally too noisy to work with. 800 iso is best, but this might be too dark at depth, especially with a filter, depending on conditions. As a side note, setting to auto ISO (clocked to a max ISO) and auto shutter is fine. For shutter speed, in theory you should follow the 180° rule of shutter and set the shutter value to double the frame rate, but in practice on action cams this doesn't really make any difference. Having tested both, I've found camera struggles more when following the 180° rule of shutter - footage exposure is stable with auto-shutter, and slightly higher shutter speeds will also help with particules, giving GoPro footage that magical viz-cleaning effect, where it looks better than what you'd experienced underwater 😉 The most important setting is to set the white balance to native . Ths is because you can't manually white-balance at depth with action cams, and uw auto white balance is a hit-and-miss, and there will likely be unwanted fluctuations during the shooting. Setting WB to native, you can then set/adjust the white balance in post which gives results almost as good as having manually white balanced at depth. The other crucial setting is GoPro color, which is basically flat - you can't trust an action cam to magically sort out underwater colorimetry. Sure, you might get ok results snorkeling or in the shallows, where water's spectrum filtration is limited, but at depth, especially with a filter and wb set to native, not letting the camera try to adjust colors is a must. And working with other colour modes, trying to adjust in post color info which has been baked-in by the camera is a nightmare.. These ProTune setting give you the equivalent of a flat profile, which is perfect for grading Gopro footage. Yes, you will need to adjust WB in post (which is almost like magic with a filter!), and tweak the colours, but for underwater video this is a must. I've actually developed this idea and shared experience and examples on this specific subject in this thread, if you haven't read it yet: https://waterpixels.net/forums/topic/1380-shooting-action-cams-with-a-red-filter-in-flat-profile-and-manually-white-balancing-in-post-production/ Despite what you might read about "gopros no longer needing filters underwater", beyond the shallows, this does not live up to reality - just compare results at depth between footage shot in a flat profile with a (good) filter to see the difference. You can get much better colour balance by shooting in a flat profile with a good filter than without. - With two video lights, you'll be shooting in an artificial-light dominant scenario, so you shouldn't use the filter (so closeups, night dives and deep dives for instance) Keep exactly the same ProTune settings, but this time set the white balance to the kelvin value of your lights (5000 to 6500K in general) - this is the only change to make. hope this helps! cheers ben

The AOI UWL-03-BLK wide lens has an optional threaded mounts in the following sizes: M55, M52 & M46. If there are any filter options for the Isota housing's square port, you could use one of these adapters (housing > filter adapter > AOI M55 or M52 adapter > lens) , but keep in mind that the lens is heavy, so the housing filter mount would need to be sturdy to hold the weight of the lens...

Yeah, it's pretty low-maintenance compared to other gear. Unless it's changed with recent upgrades, for previous models GoPro asked used to avoid lubricating the o-rings, and just clean then with fresh water (which i suspect is probably intended to avoid users using the wrong lubricant on the material)

Following my growing interest in all things larval and planktonic, I stumbled upon this pretty amazing site / project / ressource on plankton, created by researcher Christian Sardet: The Plankton Chronicles This is the website of the Plankton Chronicles Project, self-described as follows: The Plankton Chronicles Project is a series of short videos combining art and science. They reveal the beauty and diversity of organisms adrift in the currents. The « Plankton Chronicles » project was started in the context of the Tara Oceans Expedition and the Institut de la Mer de Villefranche-sur-Mer (IMEV). Christian Sardet, Research Director with the CNRS at Villefranche-sur-Mer conceived the first 4 episodes of the series with Véronique Kleiner and Catherine Balladur from CNRS Images (Meudon). All other episodes were produced by Christian Sardet (IMEV & CNRS Côte-d'Azur) with Noe Sardet and Sharif Mirshak, Parafilms, Montreal. The project and site are sponsored by CNRS, Sorbonne Université and the Ville de Nice. The Plankton Chronicles website offers very interesting info, including short video episodes on different categories of plankton, accessible here: https://planktonchronicles.org/en/episodes/ Christian Sardet also published a book (probably be a good companion to the one presented here), which was awarded «Best Underwater World Publication» by the World Festival of Underwater Images (Marseille 2014) https://planktonchronicles.org/en/the-book/ Quoting from the website: DIVE INTO THE HEART OF BIODIVERSITY AND EVOLUTION Through hundreds of photographs, Plankton transports readers into the currents, where jeweled chains hang next to phosphorescent chandeliers, spidery claws jut out from sinuous bodies, and gelatinous barrels protect microscopic hearts. The creatures’ vibrant colors pop out against the black pages, allowing readers to examine every eye and follow every tentacle. Jellyfish, tadpoles, and bacteria all find a place in the book, representing the broad scope of organisms dependent on drifting currents.Christian Sardet’s enlightening text explains the biological underpinnings of each species while connecting them to the larger living world. He begins with plankton’s origins and history, then dives into each group, covering ctenophores and cnidarians, crustaceans and mollusks, worms and tadpoles. He also demonstrates the indisputable impact of plankton in our lives.

I've been looking into lights recently, and these new generation of cheap lights are an interesting option. Basically, they do the job, but the main issue is that they are almost guaranteed to fail much sooner than higher quality lights due to design and components used. So it's a choice. For more intensive usage, replacing them will be a hassle and might end up costing more on the long run. Also, there is no real quality control, so one might be fine and the other dodgy, and beyond durability, having no guarantee as to what you're really getting in terms of specs (actual lumen output, CRI, beam angle...) is a heavy concession to make. The other issue is that they are not constant output and that the battery / battery packs included are notoriously bad... But if you just want light and not ready to invest more and ok with more disposable purchases, they will do the job. I've heard good things about the Leton L12 and the Thrustfire D50, with the following specs (to be taken with a Salt-Bae elbowful of salt...) - Leton L12 COB “5000 lumen” (or is that 8000?) 600g on land with battery, sold for 115 euros in Indonesia - Thrustfire D50, "6500 lumen", 300g on land without battery, 100 euros in Indonesia My neighbour uses a D50 and is happy for now. Despite being on a tight budget at the moment, after a lot of tossing and turning, I've decided to rule these out and buy something in higher-mid range, for something more durable and with specs I rely on, and this will be something I will be holding onto even as my kit evolves. let us know how it goes! cheers ben

Very good question - unfortunately there's no option of mounting red filters with the AOI - the only way would be to get their 52mm lens mount, then do GoPro housing > filter > 52mm adapter > AOI lens. But this will like cause a lot of problems (lens is heavy, so not great, and the added distance between GoPro and wet lens will cause optical issues) However, since AFAIK the mounts are compatible, you can use the AOI lens with a Bacscatter mount - The Backscatter mount is slightly raised and has a slot into. which you can slide their proprietary rectangular filters - if you're happy with using Backscatter filters, that is. What I'm looking into is using red-filter gels inside the GoPro housing, as I'm a little particular about filter composition and a great fan of the UR-Pro Cyan for grading GoPro footage (more on this here and here )

-140g underwater ? Wow! How come they are so light compared to the 5000 to 7000 lumen lights I am seeing which weigh more than double? Is it the battery pack, or the +buoyancy of the reflector? A little difficult to find specs for these now, but looks like they're around 900g on land from what I found, which is pretty impressive (700g+ positive compensation?). The lights I'm looking at are on the 700g on land / -350g to -430g buoyancy in water range...

Thanks Craig! My bright red focus peaking is a lifeline, just get it as red as possible and try to keep it that way 😄 cheers b

Thanks for the clarification Chris - this is what I had initially understood as well, which is why Big Blue's and Orcatorch's answers to my enquiries seemed a little off... Totally agree for the cheap lights, they are cheap for a reason, and have a very short lifespan due to poor design and components... But just to be precise, non-constant output light are not limited to such disposable, non-branded semi-direct imports sold on aliexpress/alibaba/amazon/ebay plateforms. Non-constant output lights are also the most common in the mid-range, including commonly found video light brands sold by reputable retailers such as: - BigBlue - SUPE / Scubalamp / Fotocore / Divevolk These are widely-used mid-range products - not exactly falling in the cheap light category - and are also not constant output lights - as are models by many other light common brands of variable reputation ( Orcatorch, Archon, Nitescuba, Xtar, Tovatec, XLight...) It would be interesting to know if Backscatter's video lights, such as the one included in the Backscatter Hybrid Flash or the MW4300 have the circuitry required to provide constant output or not - I couldn't find test data. The MW4300 - which I use - is a well designed light, with nice features and a tight 85° beam in wide mode, but also some surprising design choices such as low CRI LED modules (CRI of 71.1 in wide and 70.3 in spot mode), so it's not very clear what to expect in this respect...

Interesting thanks - I don’t have enough electrical knowledge to pinpoint the exact mecanism at play (maybe others can chime in), however one thing is clear: - the vast majority of LED dive lights / video lights do not have constant light / lumen output, which means that most dive / video lights will dim as the battery runs down. Schematically speaking, variable output lights dim to preserve battery, whereas constant output lights remain at the same brightness until the battery dies. This can be checked by empirical testing with the lights, and also by looking at available test data. Overall, it's pretty clear that unless the manufacturer states that the light has constant output (or even better, provides burn tests), it’s safe to assume it doesn’t and will dim as the battery runs down - incidently, most lower to mid-range manufacturers do not mention the output or back it up by tests, whereas in the higher end segment this is more common. As mentioned, is pretty easy to verify by running the light at maximum output in a tub of water and taking pictures at the same exposure settings, to see if there is a change in light intensity (our eyes adapt too easily to light intensity, whereas a camera sensor will be a more impartial judge...) If the light has constant output, the intensity will remain the same same until the battery can no longer provide enough power to do so, and then it will drop quickly. This feature is important, as it means that this will give the videographer a set window of usage, during which the light will provide a stable light, and the lumen output it is supposed to. Otherwise, we also have the data from more scientific lumen output tests. The Kraken burn test included in their docs for instance, show a rather constant output over the burn time: And this is corroborated by more slightly more independent testing, such as this site (owned by Light and Motion, but test methodology is given in the FAQ). Here is an output test on a Weefine model: https://www.wetestlights.com/test.html?docId=0uB0YFsc1Z1e5xw7OX0E Or on a Light & Motion / Sola light, here: https://www.wetestlights.com/test.html?docId=5I5Z4eZ8Y8bA8OFfNja2 However, unfortunately, this important feature is not commonly found in most LED dive lights. And if the light is not designed with to ensure constant ouput, then the light will start dimming as soon as the battery starts discharging. While I don't really know enough to understand the exact mechanism at play (constant voltage driver? I've read that the issue might be linked to not including constant output emitters - maybe others can offer explanations), the results are quite clear. Without the type of control circuit required to ensure a constant output as shown above, the burn test curve will look like this test of Big Blue TL2800P light here: https://www.wetestlights.com/test.html?docId=9pPEJyoiJaUNjmRz6KJ1 or this Orcatorch D550 test here: Such curves are well, much less sexy... And empirically, taking pictures at a regular interval at a set exposure will show the light dimming right from the begining of the test... As an example, here are pictures of such a bucket-test of a Big Blue VTL9000P light showing the dimming... Unfortunately for us end users, this is actually the most common design found in underwater LED video lights (and also dive lights), especially in the lower to mid-range. And alas, manufacturers are also not really transparent about this... This is the answer I got today from Big Blue regarding the output of their COB video lights: "For our products, we have built-in control circuit which the light will dim constantly once the battery drop to keep one and half burn time" which is, well, not the clearest I've read... But correlate this with the BigBlue light test above gives an idea of what to expect on lights of their range... Another user had an exchange with Big Blue regarding this issue as well - Scubaboard thead here In the video-light segment - where this feature is quite important as it allows us to shoot reliably at constant exposure - makers offering confirmed constant output lights are as follows, for the time being: - Keldan - Light and Motion (Sola) - Sealife - Kraken - Weefine There probably are others, but it's not easy to have access to this type of product info, which is regrettable... And the situation is similar for standard dive lights actually, where most low to mid range lights will be non-constant output, but higher end models (Apeks for instance, and others, Dive Rite, Dive Gear Express see here) offer constant output - which an important feature to ensure a consistent light intensity over a given run-time in artificially-lit overhead environments such as cave or wreck diving...

Thanks Diggy! Yeah, I'm there as well, and quite the sight with my UW-readers, I'm sure 😅

As an update, Weefine has confirmed that their Smart Focus light range does have a control circuit and is constant output / discharge. They also indicated that Kraken lights were previously produced by Weefine, meaning that Kraken lights - which have now evolved into distinct, independently manufactured products - are based the same design. I'm waiting for Weefine's test data for the Smart Focus lights.

Thank you - it's all very fresh and still a good-way to go I think 😄 Well spotted for the exposure - I don't actually have auto-ISO on the camera - while settings are very close to the GH series, auto-ISO wasn't included in the mix - so this was all shot in manual at 125 ISO. Most critters were actually moving up and down in the water-column, so I was yo-yo'ing more than any self-respecting instructor should - even on nitrox - and I think what you're seeing is actually coming from depth/lighting change in manual mode. Boosting the power of my available artificial lighting should fix this by overpowering more of the ambient light I hope (that or focusing on critters doing more reasonable dive profiles 😁)

Thanks John - once I have a general idea of what I can use work with, I look for music to edit to, playing some clips with different sound proposal, see what works best for me - I then present the idea to a severe and more often than not grumpy commission, my wife's eyes and ears, see if she validates it or not. We're both former musicians, which doesn't really make it easier 😅 But all of this is probably a little futile in our day and age where a lot of videos are played on phones with sound off 😁

Thanks - I'm really getting into this kind of critters now, that and juvenile / larval forms, it's like a whole new world opening up, a candybox of shapes and motion - but not easy to access or record... and so much is up to conditions... 😅

If this helps, you can also forward the letters / emails to the Mexican Secretary of Tourism, which is the government department in charge of Mexico’s tourism promotion and development policy for national tourist activity and development zones (in conjunction with local Mexican states). The Mexican Secretary of Tourism's physical address is: Secretaría de Turismo Avenida Presidente Masaryk 172 Bosques de Chapultepec 11580 Ciudad de México MEXICO and this is their email address: [email protected] More info here https://www.gob.mx/sectur/en#198 and here http://www.sectur.gob.mx/ cheers b

Here's a little something I shot last week, just two days after the full-moon on the shores of the Lombok Strait in east Bali. Going to my usual critter hunting spot, I expected to spend the dive on the black sand as usual. But as I reached the edge of the plateau and the sandy-slope facing the deep waters of the strait, my attention was instantly caught byweird critters floating around everywhere, including quite a few jewels I'd never seen before... Water was quite clear, with a mild current, and I spent the whole dive hovering and drifting with the plankton, then returning to the same area and drifting again with a new subject. Wee! An exciting and fascinating day-dive - for someone in love larval and planktonic lifeforms at least 😅 - challenging, but a welcome change from the area's usual macro suspects ! Technically, shooting in the shallows in full-tropical morning light, I reached the limits of my 5000-ish lumen light supply (a single Backscatter MW4300 4000 lm + 2 Archons 1000 lm), so I experimented with light positioning, including black-backround type shots, to try to make up for that. Clearly what I was really really missing in this kind of shooting scenario was a powerful secondary light, and this has convinced me to invest in more artificial light in the near future, which should definitely help! I shot with +6 diopter and even went up +12.5, as some were quite tiny, manual focus as usual, 30fps. There's a definite learning curve as the critters are so light that body and camera movements affect them greatly for instance, and what worked best for filming was really hovering motionless and letting the current carry us along... A great dive overall where i drained the camera battery, and really good practice for bonfire-type shallow black-water shooting I plan on doing here as well. 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 - Backscatter MW 4300 video light and two Archon D11V2 video lights - Shot in Amed, east Bali, in 4K 30fps, CineD profile cheers! ben

As an update Kraken have confirmed that all their lights above 2500 lumens are all COB and are all constant current / output On the Weefine/Kraken front, Kraken also specified that while they did share a factory with Weefine in the past, in the last several years Kraken has had its own factory and make their own lights, which would explain why the product ranges have now diverged so much. As a side note, from looking at quite a few products in the range, Kraken now seems to offer well thought-out products with important features where you want them: COB, constant output, decent battery design, and importantly tighter beam angles. Aah, beam-angles... Like constant output, video light beam angle is one of those things where a lack of customer education is letting manufacturers get away with a few cut corners... Online, most mid-range video light manufacturers (and their favorite influencer-mouthpieces, such is the twisted world we now live in...😅) will tout their super "wide beam" (typically 120°, sometimes even wider...) as a positive feature (perfect for video! will cover a wider area!) - when this is actually a by-product of poor reflector design / choices, and more often than not a way to lower costs... Most people here on WaP will already be aware of this, but since this thread is about important video light specs left out or, in this case, misrepresented by manufacturers, here's a reminder: for video - in most real world applications - you actually want a tighter beam (say 90°, 100° angle...) as this will simply give you more more light for a given lumen output. As often stated here, for the same lumen output a 90° beam angle will give roughly twice as much light falling on the subject than a 120° beam. And with the typical 2-light setup used in UW videography, two 90° beam lights will actually provide full coverage for lens with less than a 130° field of view (which goes for action cams, rectilinear lenses and WWL/WACP type lenses etc...). Meaning that for video lights, that super-duper "extra wide" beam is actually more a design defect than a feature... 😉 I would say constant output and beam angle are the two most commonly misunderstood / misrepresented video light specs. We could go even further and offer that beyond wonky-named manufacturers dreaming up fantasy-world lumen outputs for their wonky-buttoned lights, in the slightly more reputable world of the branded mid-range, it's probably this double-whammy of dimming-on-discharge + diffusion by wider beam angles which accounts for a lot - if not most - of the "this video light is not as bright as what it should be given stated lumens" complains often heard about mid-range products... This is probably not what your pusher outlet's infomercial review or shill ambassador-influencer's predicable video will be discussing when you end up clicking on a that click trolling engagement-generating thumbnail showing an unavoidably puzzled facial expression, but hey, that's what prehistoric relics such as forums are for, right? 😎 Returning to constant current/discharge/output issue at hand, I've asked Weefine the same question, not finding the data online, and waiting for an answer. If anyone has info on this, please share. cheers! ben

Hi - I'd just like to signal that the edit timeline is currently much less than 24 hours - probably 8 hours I'd guess. Being a little clumsy, I often come back to posts to try to correct typos, formatting etc, and have had my fingers snapped by the deadline a few times (just did now actually, paragraph I'd added was zapped as the thread was now edit-locked in the meantime) It would be great to return to 24 hours editing deadline if possible 🙏 Thanks! b

While this was probably the case in the past, this doesn't actually seem to be the case anymore. The factory issuing the products is probably the same (likely also covering the X-Adventurer brand) but the product range is quite different now. Here is the Weefine video light range: Smart focus Solar flare And here is the Kraken video light range: Hydra and LTD While some products are still similar - and design seems to indicate that they might be produced all by the same factory - the specs and features are quite different across the two brands (Kraken products are generally heavier, for instance, and Weefine leaning towards a higher price tier) That said, if Kraken lights are constant output, I would imagine Weefine lights are as well, but couldn't find confirmation (Kraken specs are more detailed and precise). Here's an example of Kraken lumen output test data:

Hello all, Looking for a set of video lights fitting my criteria, I've been bobbing around in a whirlpool of brands and specs for the past few days... It's all good, but one important specification which is very difficult to pinpoint is constant output / power discharge for video lights, which requires a control circuit to make sure the light has a stable output. If not, the light dims as battery drains, which means a steady loss of light power, rather than a timed, but constant output. In practice, this is a rather crucial spec for shooting video, but also one which is generally left out of available documentation (an easy test is to discharge the lights in a tub while taking a picture, using same exposure settings, every 15 minutes, to check if brightness drops - but this requires having the lights at hand...) To help future buyers, I'd like to try to sum up information avaialble per brand, so that we have comprehensive list of video light manufacturers (and eventually models) offering constant output video lights, and those that don't. At first glance, constant output video lights are clearly quite rare - probably because most manufacturers are aiming to keep costs lower by skipping the control circuit, since constant output isn't a feature sought by many users, who simply consider it normal/inevitable for the light to dim as battery power diminishes... Based on what I've gathered online, we can kind of make out the following (please correct or add details as required) BRANDS OFFERING CONSTANT OUTPUT VIDEO LIGHTS - Keldan - Light and Motion (Sola) - Sealife - Kraken (output test data given in docs) BRANDS OFFERING NON-CONSTANT OUTPUT VIDEO LIGHTS - BigBlue - SUPE - Scubalamp - Fotocore - Divevolk - Nitescuba - Archon - Orcatorch - Xtar - Tovatec - XLight - Almost all the non-branded / semi-branded direct import lights found on Amazon, Ali-Express, Ebay, Shopee, etc. (e.g. LetonPower, Thrustfire, Wurkkos etc) TO BE CONFIRMED - Backscatter (MW4300 for instance) - Inon - Weefine - Dive-Adventurer - DivePro - FixNeo - RGBlue - iTorch **** cheers ben