Davide DB

I've had several GoPros and I've never had a problem. You probably got a faulty one. For your use case, just grab the best deal you find. DJI's frame distortions can be mitigated by using a smaller FOV.

Absolutely true. Unfortunately, for most "shilltubers," video autofocus (AF) demonstrations boil down to someone just moving back and forth, or in and out of the camera's frame on a tripod. This is one of the rare videos where a camera's AF is explained in detail for both photos and videos. And, as I mentioned, even for a very advanced camera like the A6700 (I read that its AF is the same as the A7R5), the AF sections are different.

Welcome aboard!

For all you blackwater die-hards out there, I stumbled upon a lecture by Linda Iannello for the Florida Oceanographic Society about this kind of diving in Florida. The lecture is over an hour long and it's a true encyclopedia on the subject. Besides photos of tons of species, all the techniques are explained. If you're having trouble sleeping at night, this is a fantastic remedy! 😁

Let's be clear: I'm not fighting against full-frame. My reasoning is purely about video, underwater video, not photography. If you're making professional videos, you don't need to print in A2 or A1 sizes. You need to deliver your work in standard resolutions, which today are 4K or 6K. 8K is still mostly for cropping in editing. Video resolution is tiny compared to photography. 4K: Around 8.3 Megapixels (UHD) or 8.8 Megapixels (DCI). 6K: Around 19-20 Megapixels (depending on the specific resolution). 8K: Around 33.2 Megapixels. These are ridiculous resolutions respect to average current photography needs. In fact, the opposite of photography happens. A video-oriented camera will have a sensor that's as close as possible to the final video resolution. My GH5 has a 20 MP sensor, which is a compromise between video and photos. The GH5S, which is specifically for video, only has a 10 MP sensor. The glorious Sony A7S III only has a 12 MP sensor! But today, almost all cameras are hybrids, meaning they also take photos. If you don't want to crop and lose the original format, manufacturers are forced to do real-time downscaling, which brings its own problems: computing power, overheating, and rolling shutter. Going back to our debate on full frame... The term "full-frame" comes from analog photography, For a long time, this format was the professional standard in photography, offering better image quality than smaller formats. With the start of the digital era, full-frame sensors were initially expensive to make, leading to the use of smaller sensors like APS-C or Micro Four Thirds, even in professional cameras. The "trend" of full-frame in video grew from digital photography technology meeting the increasing demands of video production, especially the desire for an affordable "cinematic look." The real turning point was the Canon 5D Mark II. In 2008, it showed that high-quality video could be made with relatively inexpensive equipment. This started a revolution, leading other manufacturers, especially Sony, to develop full-frame cameras with increasingly advanced video features. These cameras then became a common choice for many productions, from independent to semi-professional. It's important to differentiate between the history of traditional cinema and recent trends in digital video. The history of cinema was not made with "full-frame" in the sense of a 36x24mm sensor. The main formats were: Super 16mm (S16): A smaller format that was used for many famous films, valued for its versatility and unique look. Super 35mm (S35): This was the main format for most of cinema's history. The image area of 35mm film in cinema cameras was closer in size to an APS-C sensor or slightly larger, but much smaller than a full-frame sensor. Most of cinema's magic, from Hollywood to European films, was created using this format. Therefore, the "cinematic look" linked to full-frame in modern digital video is not the same as the historical cinematic look. The full-frame "trend" was fueled by marketing that promoted the idea that a larger sensor was always better. It offered real benefits in low-light performance and dynamic range, but more importantly, it made it easy to achieve a "strong bokeh". For many amateur videomakers, this became a sign of a "professional" and cinematic look, differentiating their work from amateur videos. Finally, it's worth noting that many RED cameras used in high-end productions like "blue chip" wildlife documentaries still use Super 35mm sensors. This is often preferred to maintain a greater depth of field when filming distant subjects. Lions and gazelles are far far away 😀 This shows that "bigger is not always better" for every specific use case in professional filmmaking.

Even though I'm a bit late to the party, I wanted to share my two cents on video 😇 As others have said, there's no "perfect" camera system out there today. Hybrid cameras are incredibly high quality across the board, so it really comes down to personal preference and what you'll be using it for. I'm a pretty practical person. If you've already got a bunch of Canon lenses and you're comfortable with their system, I'd honestly stick with Canon. Then, take the money you save and spend it on travel and diving trips! 😁 Full-Frame vs. APSC: My Take Now, about the full-frame (FF) vs. APSC thing, I'm pretty opinionated and a bit cynical. Sure, the shift from DSLRs to mirrorless cameras brought huge tech changes. But the speed at which companies release new models isn't always because we, the consumers, actually need them – quite the opposite! Companies are always trying to boost sales and profits, and launching new products is a key way to do that. Through marketing and ads, they make you feel like your perfectly good camera is suddenly "old" or not as good as the latest version. Right now, the whole market is obsessed with full-frame. This trend really took off because of home videomakers who used cameras like the Canon 5D Mark II to get that "cinematic look" in their backyards. For them, the entire cinema look concept meant crazy background blur and chasing the perfect bokeh at all costs. Companies saw this and jumped on it headfirst. But, even if the market says otherwise, for underwater video, a cropped sensor actually has some big advantages. Underwater, unless you're going for a specific creative effect, you generally want a good depth of field. And that's much easier to get with APSC or Micro Four Thirds cameras. For macro shots, both video and photo, APSC/M43 formats also give you an edge when it comes to magnification compared to full-frame. The common belief that full-frame sensors are automatically brighter and have less noise than cropped sensors is a tough one to kill. Theoretically, it's true, but in practice, it makes no difference. Technology has come so far that for our kind of use, it has zero impact. For video, almost all modern sensors now have a dual gain circuit, meaning two native ISOs. Canon calls this DGO, and every manufacturer has their own version – it's technology originally developed by Arri. Plus, APSC lenses are generally smaller too. Canon's colors, especially, are really popular for underwater shooting, and Canon cameras usually do a great job with white balance even at depth. The one big drawback with some Canon cameras is how you do the custom white balance – it forces you to take a photo first, then set the white balance from that shot. I'm not sure which models still have that quirk though. Back to Reality If you're sticking with Canon and you're not in a huge rush, I'd personally wait for the new Canon R7 Mark II. Of course, if you always wait for the next big thing, you'll never buy anything because there's always something new coming. But the R7 Mark II has been rumored for over a year now, with hundreds of whispers. It's hard to say exactly what features it'll have, but everyone agrees that Canon will release a true APSC flagship, bringing all their latest innovations to that format. It'll basically be like what the 7D was for DSLRs. Even now, the R7 is an excellent camera, and some people use it specifically for macro. Its video sectionhas some limitation. https://www.canonrumors.com/tag/eos-r7-mark-ii/ Before You Buy Anyway, before you choose, try to borrow some cameras from friends and get a feel for them. You don't even have to go in the water; your backyard is perfectly fine. Or, for mainstream cameras, you can often rent them for a weekend from various camera rental services at pretty reasonable prices. If you're coming from a DSLR, this is a great way to understand what these new hybrid mirrorless cameras can do and get a real idea without getting sucked in by all the "shilltubers" . P.S. I almost forgot: as I mentioned, personally verify that certain features actually work in video mode. Ciaoooo

It's an anemone, Alicia mirabilis During the day it's closed, barely visible. During the night it's https://en.m.wikipedia.org/wiki/Alicia_mirabilis

I'll add an important detail that's often overlooked or simply ignored: when you switch to video mode on cameras, even those famous for their autofocus, the myriad of AF settings are disabled, limited, or at least very different. Ninety-nine percent of the AF setup tutorials you find online for top-tier cameras forget to mention that those functions only exist for photography. Sad but true. After doing tests and watching dozens upon dozens of YouTube videos, I only found one video on the Sony A6700 that had a chapter dedicated to video AF, and it clearly showed that all those super cool functions just explained are not available in video mode. Additionally, as Ben says, the user experience of autofocus is directly tied to the lens being used.

Great combo indeed for video These videos aren't just for aesthetic purposes; they also serve as a magnificent memory of our holidays! Ciao

Welcome aboard Stephen!

Really nice video. Excellent editing and colors. I like the backlighting you tried to achieve. Perhaps, if I may suggest, the music is a bit off-mood. It has a crescendo of strings and tension that's hard to follow with the images. The visual climax is reached with the sharks. But, of course, these are very personal preferences. The lens seems perfect and very versatile for the video. What dome port did you use?

Welcome aboard Connor!

@MrPhilipps what will be your main use case? Video or photo?

"¡Hola Fotosub! Bienvenido/a al foro. Nos alegra mucho tenerte por aquí. Sí, es cierto, esta sección es para las presentaciones. Es el lugar ideal para que nos cuentes un poquito sobre ti. ¿Eres un aficionado/a de la fotosub con cámaras analógicas, o buscas la lente para algún otro proyecto? Nos encantaría saber más. Una vez que hayas hecho tu presentación aquí, podrás abrir un nuevo hilo en la sección de fotografía para hacer todas las preguntas que tengas. ¡Estamos deseando leerte! P.D. La lengua franca aquí es el inglés, pero puedes usar el idioma que prefieras. Solo lo menciono porque en inglés tu mensaje llegará a más usuarios posibles."

This are the strongest I could find: +3.5 even if on land I use +2.5. Today is first time I use them. Let's see what happens 🤓 Vintage eyes require precision tools!