Davide DB

I'm looking for a used one to start using for topside filming, but I haven't found any great deals yet. Anyway, how are you finding AF-S for underwater video? Are you able to use subject tracking? With which lens? From what I’ve read, the Panasonic AF system is finally on par with Sony, Canon, and Nikon. What many people complain about is that it lacks the automation that Sony has: you pick any object and the camera starts tracking it regardless of the mode you're in (subject detection...). Many have requested this feature and hopefully, in a future upgrade... This video is one of the few comprehensive ones on all the Panasonic AF features for its latest-generation cameras.

It seems a lot of value for the money. Which WA lens do you plan to use with it? I saw a small lens choice assortment on their website. They have a m43 housing too but it's a mistery which lens you can use on it. Thanks

Amazing report! Thanks for sharing.

Interesting the drop-in filter

How was the trip? Did the camera perform well?

According to Canon Rumors: Canon RF 7-14mm F2.8-3.5L VCM $1599 USD / €1829

It is worth watching the video even just for his shirt! P.S. Jokes apart, great video and explanation indeed

Yes. Just apply a slight crop in post production. P.S. Read the fine prints: https://www.inon.jp/products/action/lens/ufl-g140.html#notes Always set camera's Field of View (FOV)/Digital Lenses to [WIDE]. Using [Linear] or [Narrow] won't bring optimal performance of this lens. When using with HERO11 Black, HERO12 Black and HERO13 Black, shoot in 4:3 or 16:9 aspect ratio as vignetting will occur in 8:7 or HyperView mode.

Wow, Incredible! Thank you for sharing your experience with us. It is a beautiful project where your skill, experience, and available tools definitely matter a lot. It is not for the faint of heart! Thanks

I have only seen it working in a studio, which means in perfectly controlled conditions. In the water, color absorption changes a lot with distance, and the orientation towards the sun changes much more than in the air. A good white balance is more than enough. The goal is to have colors that are pleasant rather than faithful

Welcome Aboard!

First we must wait for the duels to the death to finish 😁

It seems that in these last years there are more strobes than cameras. And many snoots too!!! https://www.facebook.com/reel/856799257136321

Yes of course. To give you some perspective, look at an 'old' Lumix GH5. Back in 2017, it was already recording 4K (8.3MP) at 400Mbps (H.264). Even if we account for H.265 GoPro being twice as efficient, that GH5 was effectively putting 200Mbps worth of detail into 8.3MP. A Sony A7SIII/FX3 @4K records at 280Mbps! By comparison, the GoPro 12 is trying to squeeze 24.7MP (8:7 mode) into 120Mbps. Mathematically, the GoPro is asking the encoder to do much more 'heavy lifting' per pixel than a 10-year-old pro camera. High resolution is great, but without a proportional increase in bitrate, you're just getting more pixels, not better pixels.

Hi Giacomo, I see your point about the horizontal resolution being 5.3K in both cases, but mathematically, the 'No quality loss' claim doesn't hold up once you look at the total pixel count the encoder has to process within the same 120 Mbps limit. Here is why 16:9 Native is technically superior to 8:7 cropped to 16:9. The Math of the Canvas: 5.3K 16:9 Native: about 15.8 Million pixels (5312 x 2988). 5.3K 8:7 Full Sensor: about 24.7 Million pixels (5312 x 4648). When you record in 8:7, the camera is dedicating a huge chunk of those 120 Mbps to the top and bottom areas of the senso. That are areas you are going to crop away anyway. In 16:9 Native, the encoder doesn't 'see' those extra pixels, so it can spend the entire 120Mbps budget only on the 16:9 frame Finally, in the 16:9 Native file, each pixel in your final frame has roughly 56% more data allocated to it compared to the same area inside an 8:7 file. You aren't wasting bitrate on pixels you're just going to delete in post! On a lighter note: It's like buying a pizza for 3 people (8:7) instead of 2 (16:9), while using the exact same amount of dough. The slices will inevitably be thinner! 🍕 P.S. My reference to 'Ludicrous Speed' was just a quote from Spaceballs movie (Velocità smodata - Balle Spaziali) 😁

New Sony FE 100 mm F2.8 Macro GM OSS lens focus gear anyone? 😈

Custom knobs and custom caps added!

Amazing work indeed! I look forward to read the entire story on a new thread or even an article. Thanks for sharing

Please, if you didn't like the tests that were done: Stick to the facts and don't get personal. Raise your doubts politely in the specific thread. The goal is to have a constructive exchange of ideas, so let's keep the discussion professional and helpful for everyone.

It's not a strange thing. It's math. I'm splitting hairs here but saying there is "no quality loss" just because the bitrate is the same is a common misconception. Here is the math: 4K (16:9) = about 8.3 Million pixels per frame. 5.3K (8:7) = about 24.7 Million pixels per frame. While the bitrate is capped at 120Mbps (*) for both, the 5.3K 8:7 mode has to manage nearly 3x more pixels than 4K. Think of bitrate as your "data budget." In 4K, each pixel gets a larger slice of that 120Mbps pie. In 5.3K 8:7, you are spreading that same amount of data much thinner across a much larger canvas. Does this mean 5.3K 8:7 is "bad"? Not at all. Its strength isn't pure image fidelity, but versatility: You can crop a 9:16 vertical for TikTok and a 16:9 for YouTube from the same clip without losing vertical resolution. Stabilization: It gives HyperSmooth more sensor "real estate" to work with, resulting in better stabilization with less aggressive cropping. (*) Even using the 190Mbps ludicrous speed of Gopro labs FW, the math doesn't change

I'll add some other thoughts: Set HDMI Output Res to 1080p (instead of Auto). You tried this already. Disable HDMI Rec Control in the HDMI connection menu. The GH7 sends a digital "trigger" signal through the HDMI cable to tell an external recorder to start. A simple SmallHD doesn't know what to do with this command and often glitches or loses the sync. ensure HDMI Info Display (Rec) is set to ON. Try a different cable.

Nope. I can 100% confirm you that the external monitor via HDMi works flawlessly with GH6 and GH7. There is something else at play there. If you find a pc monitor or a laptop, you can test your GH7 HDMI out and your SmallHD monitor alone

No GH7 here but a long time Pana user. Did you enable the HDMI output downscaling? By default my GH5 output on HDMI the same resolution and framerate I'm recording to but not all monitors accept UHD or 4K signal. And most of them accept max 4K@30p. My GH5 HDMI is set to 1080p regardless of my recording resolution. If you have a normal desktop pc monitor or a TV, just try your camera on them, possibly with another normal HDMI cable.

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Added to our DIYpedia