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Everything posted by Davide DB
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The video portrays a profound message about the significance of the ocean in relation to Earth’s health and the future of humanity. Through personal reflections spanning nearly a century, David Attemborough emphasizes the ocean’s vital role as our planet’s life support system and its capacity to combat climate change. Despite its current poor health, there’s a strong sense of hope: the ocean’s ability to recover more rapidly than previously thought. The narrative implores humanity to take action to preserve the seas, asserting that if we save the ocean, we ultimately save our world. This story is not just about acknowledging the critical state of the oceans, but also about understanding the immense potential for restoration and rejuvenation, underscoring a collective responsibility for the future of our planet. OCEAN WITH DAVID ATTENBOROUGH. Global Cinema Event from May 8 Tickets on sale now: https://www.oceanfilm.net -
Hi Bradley, Welcome to the forum!
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Hi Craine, Do what you think is best. It makes sense that people who use photos more professionally would link them from a service that allows sharing. When we said "community assets," we meant that some forums and communities don't allow you to upload images, but only link to them. We encourage uploading, even if it means compromising on quality and space. At first, we received some negative feedback about the quality of photos after they were automatically resized by the board algorithm. So, we've suggested ways to adjust the photos before uploading. Ciao
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I was looking at my buddy's GH5 Aquatica housing. It has a threaded hole and a bulkhead with an external M16 thread
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Important: Our discussion will center on the economic impact of the new camera equipment tariffs, not the political motivations behind them. Again, Let's keep the discussion strictly to the economic consequences of the camera gear tariffs, leaving politics aside! The Mirrorless Rumors article reports that new tariffs will significantly impact the price of Sony cameras and lenses. Cameras produced in Thailand will face a 36% tariff, while those from China will have a 34% tariff. Sigma lenses from Japan will see a 24% tariff, and Tamron products from Vietnam, a steep 46%. This will likely lead to price increases across the board; for example, the Sony A1II could jump to $8708. The article emphasizes that even relocating production to the USA wouldn't solve the problem quickly due to reliance on foreign components. It also lists the production locations for major camera manufacturers and a table with the most common camera and lens models: Canon – Japan, Taiwan, Malaysia, Thailand, and China Nikon – Thailand and Japan Sony – Thailand and China Fujifilm – Japan and China Panasonic – China and Malaysia OM System (Olympus) – Vietnam and China Leica – Germany and Portugal In the last hours, several comments followed. Each commenter inevitably expresses his or her political views as well. i insert a few random links and avoid politically motivated comments. All I'm saying is that given our passion, other fees for housings and everything else are added to the above prices. Gates Underwater Products (professional video housings) and ULCS aside, I don't think I remember any U.S.-made housings and accessories. Please correct me if I forget anything. Edit: according to Marelux: https://www.marelux.co/pages/aboutus they are USA founded but I don't know where their products are made. https://www.theverge.com/tech/643041/trump-tariff-consumer-electronics-gadgets-smartphones-laptops-wearables https://www.digitalcameraworld.com/cameras/how-could-trump-tariffs-affect-camera-prices
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DaVinci Resolve 20 has been officially announced by Blackmagic Design, and it's a substantial update packed with over 100 new features! The integration of DaVinci AI looks to be a major focus, introducing tools like IntelliScript, which promises AI-powered text-based editing workflows for transcription and timeline generation. The new Animated Subtitles feature also leverages AI to automatically create and synchronize subtitles. For multi-camera work, Multicam SmartSwitch uses AI to intelligently cut between cameras based on analysis of the footage. Editors will see a dedicated keyframe editor integrated directly into the Cut and Edit pages, offering more precise control without needing to jump to the Fusion page. Audio professionals gain access to AI audio mixing, aiming to simplify and enhance the sound design process. Visual effects artists will have significant enhancements across Fusion, including new multi-layer compositing tools and improvements to the USD (Universal Scene Description) workflow. Colorists also get a notable addition with Chroma Warp within the Color Warper, offering new creative possibilities for color manipulation. Beyond these highlights, the update also includes improvements to the Magic Mask and Depth Map tools, further leveraging AI for complex selections and effects. https://www.newsshooter.com/2025/04/04/blackmagic-design-davinci-resolve-20-announced-with-100-new-features-including-ai-enhancements/
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After posting the news that Adobe after more than 4 years* will support the N-Raw codec within Premiere Pro, I reflected that Nikon's path is truly admirable. There is no denying that, until recently, Nikon was perceived as the most “backward” brand in terms of advanced video capabilities compared to competitors such as Sony and Canon (and my beloved Panasonic). This situation was a source of frustration for many hybrid users and videomakers who appreciated Nikon's photographic quality but often had to look elsewhere for more professional video needs. However, the recent turnaround is palpable, and N-RAW, with its impending support in Premiere Pro (after more than 4 years since its introduction), is clear evidence of this. This initial delay, while criticizable, now appears to be part of a larger and more thoughtful strategy. The acquisition of RED was not an isolated move, but is part of a well-defined path of strengthening in the professional video and cinema market. The hybridization of video and cinema is an unstoppable trend, and mirrorless cameras, with their increasingly advanced capabilities, are indeed the ideal bridge between these two worlds. It is no longer just a matter of “adding video capabilities” to cameras, but of designing tools that meet the needs of an increasingly sophisticated hybrid workflow, where the distinctions between photography, high-quality video, and cinema production are becoming increasingly blurred. A short comment on the Nikon journey: (*) Adobe Premiere Pro EX customer didn't receive well the news 😉
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When Nikon acquired a controlling stake in RED Digital Cinema in early 2023, the industry took notice. For photographers and filmmakers alike, this wasn't just another corporate merger—it signaled Nikon's serious commitment to professional cinema production and a strategic evolution beyond still photography. Strategic Integration and Immediate Benefits The integration has moved quickly. RED has already released cinema cameras featuring Nikon's Z-mount, creating a native pathway for Nikon glass to reach professional cinema environments without adapters. This compatibility breakthrough offers significant workflow advantages for creators invested in both ecosystems. The technical advantages of the Z-mount make this integration particularly powerful. With its 55mm diameter and minimal 16mm flange distance, the Z-mount delivers exceptional optical flexibility, supporting everything from ultra-fast apertures to edge-to-edge sharpness across varying sensor sizes. For RED's cinema application, this mount architecture provides future-proofed optical performance while simplifying lens choices for filmmakers. Image credit: Nikon.com Nikon's Video Evolution Z9 vs Z8 - image credits: cined.com Concurrent with the RED acquisition, Nikon has dramatically expanded the video capabilities in its flagship cameras. The Z8 and Z9 now incorporate features previously exclusive to dedicated cinema cameras: Internal 12-bit RAW recording ProRes and N-RAW codec support Advanced log profiles Professional monitoring tools (waveforms, vectors) Timecode synchronization N-RAW and R3D: Complementary Codecs Since the acquisition of Red, Nikon has two Raw codecs in house. Rather than competing internally, Nikon's N-RAW and RED's REDCODE (R3D) formats serve distinct purposes within the expanded ecosystem: N-RAW targets hybrid creators and solo operators with its efficiency-focused design. The 12-bit compressed RAW format balances high-quality acquisition with manageable file sizes, making it ideal for documentary filmmakers and content creators who need cinema-quality results without complex external recording setups. REDCODE RAW (R3D) maintains its position as the industry-standard cinema codec, optimized for controlled production environments and post-heavy workflows. Its established integration with DaVinci Resolve and REDCINE-X makes it the preferred choice for high-end production houses REDCINE-X is a free, professional-grade software application provided by RED Digital Cinema. In addition, Adobe has announced that it will support the N-Raw codec within its video editing software Premiere Pro. The Future Landscape This strategic alliance is redefining Nikon's identity in the visual content creation space. By bridging the gap between hybrid creators and cinema professionals, Nikon is positioning itself as a comprehensive imaging solutions provider. The RED acquisition doesn't represent a casual expansion into video—it's a fundamental repositioning that leverages RED's cinema expertise alongside Nikon's optical and sensor technology. For working professionals, this integration promises future innovations that blend RED's cinema heritage with Nikon's technological prowess, potentially creating entirely new categories of imaging tools designed for modern visual storytelling across all formats. -
Nikon announced the Z5 II mirrorless camera last night, but in addition to that announcement was another exciting update for Nikon videographers. The company revealed that Adobe will finally offer support for Nikon's N-Raw video format in Premiere Pro. N-Raw is Nikon's proprietary 12-bit Raw video format. It supports Rec2020 color gamut and allows users to adjust white balance in post-production, much like what's possible with Raw photo files. As a result, it provides more flexibility during the editing process. Despite that extra data for editing purposes, it also produces smaller file sizes compared to Apple ProRes Raw. It's ideal for those who need editing flexibility while saving space on memory cards and hard drives. The only other options for editing N-Raw files are DaVinci Resolve and RedCine-X Pro, so it is great to see Adobe getting on board. While support for N-Raw in Premiere Pro is certainly welcome news, users will have to wait until "the end of 2025." Nikon didn't provide more specifics than that, simply saying it will come with an updated version of Premiere Pro coming later this year. Here the Nikon full press release: https://www.nikon-asia.com/articles/nikon-n-raw-video-format-will-be-supported-in-adobe-video-editing-software-premiere-pro -
Managing underwater photography collections can be overwhelming, but with Adobe Lightroom's robust metadata features, organization becomes seamless. On his blog, Mike Jones outlines a systematic approach to metadata management, emphasizing the importance of consistent practices to enhance searchability and gain deeper insights into marine environments. Key steps include: Rating: Assigning ratings to evaluate image quality. Keywords: Applying terms to describe the environment and subjects. Title: Using a consistent format for easy grouping. Species: Recording both common and scientific names. Category: Grouping similar species under broader classifications. GPS: Adding precise coordinates to document the exact location of each shot. Implementing these practices transforms your photo library into a valuable dataset, capturing snapshots of time, place, biodiversity, and behavior. For a comprehensive guide, visit Mike Jones's blog: https://mikejonesdive.com/lightroom-metadata -
I've seen them used in the harshest environment. I would use the original one, cleaning the surface with alcohol. And you can add a small tether for the peace of mind
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Terrific article Mike, thanks for sharing! Workflow aside, I loved the sentence: It's beautiful and kind of encapsulates the point of the scientific diving. photographers or filmmakers do, perhaps without realizing it.
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Regarding the specific use of LRC for I videos, this article gives you an idea of the pros and cons. https://www.lightstalking.com/lightroom-video/ TL;DR It is useful if you take advantage of its powerful cataloging database. Forget color correction or editing for serious work. For how to take advantage of its catalog for photos (and also for videos) I recommend the excellent article of @MikeJonesDive just published. I would add that although you can use the suggested plugins and others, DAM specificity for video has the ability to catalog video clips by default based on video-specific metadata: resolution, aspect ratio, framerate, bit depth, and others.
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Thanks for the feedback Giancarlo. Maybe it would be important to write a few lines to the company that makes the Monster Adapter as well.
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This one on the shade. I know for sure they use an original 3M adhesive which last in the long run https://gopro.com/en/za/shop/mounts-accessories/curved-plus-flat-adhesive-mounts/AACFT-001.html
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All mirrorless cameras have this option under different names. How the monitor and display get synced depends on camera settings and brand. Devil is in the details. So I suggest to connect a simple PC monitor or your tv and test how it works. If I understand correctly your question, it depends on the above settings: menu D9. Yes, of course but better you do some test. Generally speaking a camera outputs on the hdmi exactly the same you see on the monitor. Then you can choose to have a clean signal without any overlay or exactly what you see on your monitor. My camera has a dedicated button to switch between display and EVF. HDMI follows the camera display. Monitor or not? I shot only video and I have strong problems with fading eyesight (presbiopia). Unfortunately a monitor doesn't help: - You monitor is at same distance or even closer to you - again, devil is in the details: on my GH5, HDMI fonts are way smaller than those on the camera display. Damn you Panasonic!
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So finally welcome to Waterpixels! A warm welcome to the forum.
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Hello Jeff, First of all Welcome to the forum! Are you sure there is nothing to see underwater in Canada? We have a large contingent of Canadians here and lots of posts, videos and photos. Perhaps British Columbia is one of the most beautiful places in the world for cold water diving. Regarding your question, go ahead and post it! But try doing a search, there are hundreds of posts about Nauticam wet lenses and more that are now very common.
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The housing looks very well-made, although it's worth noting that the page only features CAD renderings. I have two observations: the renderings do not show the bottom part, where I assume there is a tripod mount, and hopefully, sacrificial anodes to prevent galvanic corrosion. In the past, I used an Easydive housing for the GoPro 5, and despite having anodes, significant corrosion developed on the stainless steel locking clip. I’ve seen the same issue happen to a friend’s T-Housing GoPro case—again, in the area where the steel clip meets the aluminum body. In both cases, the anodes seemed ineffective. The housing appears to come with a full range of accessories, making it a real gem. However, in Italian, we have a saying: "è più la spesa che l'impresa," which roughly translates to "the game isn't worth the candle." A few years ago, I had the chance to try the Hugyfot housing with an integrated 5" monitor—an expensive and high-end product. Now, we have the AOI housing, but I don’t recall whether it includes adapters for future GoPro models. So my question is: with the addition of the lens, vacuum system (and monitor), (GoPro media-mod is complusory to use the extra battery) what price range are we looking at? I tend to agree with @homodelphinius This housing makes me think of many scientific applications. In recent months, I’ve been using GoPros with additional batteries in icy rivers to document trout spawning. Having 4/5 of these housings 🤑 along with the ability to remotely control the monitor and shutter, would have been a huge advantage. Besides GoPro Lab, there is now a license available that allows interfacing with the GoPro via the USB-C port. In the past, I participated in the development of devices for deep time-lapse recordings lasting several days. For that project, we used modified GoPros. P.S. Recently, I took a family trip to the Maldives and brought with me just a GoPro with an AOI lens and the original plastic housing. I haven't reviewed the footage yet, but I didn’t experience any fogging issues since I sealed the housing in an air-conditioned room and used small moisture-absorbing pads. The battery lasted just long enough for two dives, but on a proper liveaboard, I would have needed to open the housing after the second dive. What I missed the most was having a monitor to properly frame my shots. It's nearly impossible to capture stable footage while holding the small GoPro in front of my face 👴🏼
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Sorry, I've nothing online at the moment. I have to dig into my archive. ATM I found only this example of thin DOF inside a white gorgonians forest shot by my buddy for an upcoming feature. Lumix 12-35mm @F2.8
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I suggest to attach jpeg or png images so the forum board is able to render them
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When we started out on this incredible journey, I never could have imagined how quickly and how far we would come. Thank you all so much for helping to make this community so special with the enthusiasm, passion and experience you put into it. Thanks you all!
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Actually on my example with WA shots I swim with the camera in my hands. Hummm you will probably have to make some modifications, or else: If the feet have a common thread (1/4“ or M8-M10 you might find compatible 1” balls. Another option: many sliders have a 1/4” photo attachment at the bottom to mount them on tripods. you could take advantage of it to attach a plate with 1" balls. However, regarding the equipment used on professional productions, for sliders you don't use ball bearings but use Teflon friction bearings or similar materials. There is a company that sells all the parts, and in the catalog there are also parts designed to work underwater. They also supposedly have a technical consulting service to help make custom solutions. there are also lots of projects in the film and TV field on their page. I leave links below for those who would like to learn more: Parts: https://www.igus.eu/product/940?C=DE&L=en&artNr=WW-10-30-10-SL-HKA Custom projects for camera sliders: https://www.igus.eu/industry/camera-technology Last but not the least, if you are looking for ready to use bespoken solutions: https://www.waterproofmedia.co.uk/
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Good news for owners of some of these well regarded lenses. Monster Adapter is set to launch an F to Z mount adapter equipped with a motor to operate old AF-D lenses.
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My interest in the slider for macro video (not extreme) is not so much for focus but to get small side or frontal tracking shots. Trying to explain. I happen to do these frontal tracking shots with a medium wide lens inside small soft coral forests. You don't need perfect focus, quite the contrary. I open the lens to F2.8 and focus about half a meter away i.e. to the first coral in front of me. Then I advance slowly with the camera near close to the bottom to get in between the corals. In this way I will have in focus only a portion of the field in front of me flowing as I advance. Sometimes you get a nice artistic effect. Wanting to translate this effect into macro, the perfect lens would be a 130° or 160° EMWL advanced slowly through the corals getting an unusual view. If you watch some scenes in some documentaries you will find that it is widely used. If you look at the first picture with Roger Munn and the manual slider, I think he's doing just something similar among the polyps of that hard coral with an EMWL.
