Davide DB

Hi Eric, The Mandarin fish sequence is gorgeous. Thanks for sharing

Great observations. However, it must be said that at least Panasonic has somewhat betrayed the spirit of M43 with its camera bodies. In the various iterations, the camera bodies of the top-of-the-line models have become bigger and bigger. I believe a GH5 is bigger than a Sony A7. The GH7 is way bigger than the A7RV. This is because the video functions generate a lot of heat, and even since the GH6, the camera has had built-in fans. In the dedicated forums, everyone has been asking for years for a small rangefinder body with all the latest technological advancements. Like a G85 or even a GM5, which on the used market cost almost as much as new ones. Panasonic doesn't seem to listen to its clients. Yet, you just have to look at Fuji with its compacts that have sold a ton. P.S. Here I'm adding a rumor that the internet has been talking about for a year and has become a running gag: DJI entering the mirrorless market with a Full Frame. Many hope for its entry into this market because of its innovative and disruptive capabilities, believing it can shake up a market dominated by the Japanese. It has now been the undisputed leader in the world of drones and gimbals for years. It created an innovative camera like the Ronin 4D, which is also used in cinematic productions. For now, there is no news. But if you look at the lens market, it's clear that Chinese brands, which until recently had cheap and good-enough quality products, have now scaled up, aiming for mid-to-high-end products at extremely competitive prices. I'll only mention Viltrox (which started many years ago with simple mount adapters) and now has several AF lenses for Sony and has entered the L-Mount consortium (which DJI is also a part of).

On September 9, 2025, Canon announced a new camera from the Cinema series, the EOS C50. Photos and some specs have already leaked. The camera aims to be a direct competitor to the Sony FX3/FX30 line. It seems to be very compact and perfect for an underwater housing. The announcement of two new lenses is confirmed, including an 11-55 mm zoom Basic specs: 32MP full-frame CMOS sensor 7K recording up to 60p (Canon Cinema Raw Lite) Oversampled 4K <60p 4K 120p 3:2 Open Gate recording up to 30p 'Dual Pixel CMOS AF II' with human and animal recognition Dual gain steps CLog 2/ CLog 3 Included top-handle with 2 XLR inputs 3" display Official release: https://www.canon-europe.com/video-cameras/eos-c50/

It's one of most debated here, actually. As Chris wrote, it's plenty of threads. Every time we discuss about wide angle and wet lens, this combination pops up as a valid, travel friendly, alternative. Just search "8-15mm" or "kenko". Ciao

Welcome aboard Dan! That's a good idea, the surgical operation. I'll book one for myself too! 😁 Nice photos, great job! I like your use of shadows; it adds drama. Do you use a snoot? I think that soon, in Sydney, you'll be able to organize a WPX boat! Lucky you.

Reading some user feedback on the net, it seems OM-3 has a more complete and customizable AF system than OM-1 first version. Manufacturers keep adding features forgetting to update previous models.

The situation for M43 for underwater use is quite dramatic. Generally, it's not doing well because the worldwide trend is Full Frame. It's not enough to repeat a thousand times that for 90% of users, the cropped format has huge advantages underwater. OM is just scraping by, and there are rumors of a new financial crash. The new models after Oly seem to be the finalization of products that were already partly started by Olympus. Panasonic didn't manage to repeat the success of the GH5, having delayed the move to PDAF for too long. Now the GH7 is practically perfect, but it seems to be too late. It doesn't help that Nauticam is the only one to produce a housing and sells it at absurd prices, even though it's not a top-of-the-line model. Panasonic has renewed its entire Full Frame lineup and has nice cameras on par with the other manufacturers. By the way, due to economies of scale, today almost all Panasonic FF cameras have the same body. A true unicorn for us, since we have to change housings every time. Yet I discovered purely by chance that Nauticam has Panasonic FF housings and also a port chart. The L-Mount consortium is starting to have the largest lens lineup of all. But we divers know that the devil is in the details and that the lens choice for our purposes is very limited. But we know how restrictive lock-in is. It's difficult to break old habits and common beliefs, and it's very expensive to switch from one system to another. Fuji really has some nice cameras in its catalog, but here too, I think only Nauticam has a model in its catalog. The fact is that all the manufacturers have practically remained artisans, and Nauticam is the only one that has scaled up to an industrial level. So it's able to steer the market. No criticism, just to be clear. It's the market, baby! I have to say that Nikon is the most active brand of all. Although it has always been the go-to brand for underwater photography, it lost a lot of clients (towards Sony) for having delayed the move to mirrorless for a very long time. Now, however, it seems to have a second youth, and its Z models are very solid, and it's gaining ground not only in underwater photography. I shoot video, and we'll see if anyone offers valid alternatives in a cropped format.

The Nikkei Industry Map Financial Yearbook includes detailed shipment data for Japanese mirrorless camera manufacturers, offering an exact breakdown of the global camera market: This figure is for mirrorless camera shipments, so it does not include shipments of digital SLRs or compact digital cameras. Looking at the trend in mirrorless camera shipments from 2021 to 2025, it appears that the mirrorless camera market is expanding. Nikon's shipments appear to be steadily increasing by roughly 100,000 units. 2024 Canon: 2.05 million units Sony: 1.63 million units Nikon: 760,000 units Fujifilm: 490,000 units Panasonic: 160,000 units OM Digital: 130,000 units 2023 Canon: 1.96 million units Sony: 1.53 million units Nikon: 630,000 units Fujifilm: 380,000 units Panasonic: 140,000 units OM Digital: 120,000 units 2022 Canon: 1.54 million units Sony: 1.25 million units Nikon: 530,000 units Fujifilm: 360,000 units Panasonic: 140,000 units OM Digital: 140,000 units 2021 Sony: 1.4 million units Canon: 1.17 million units Fujifilm: 400,000 units Nikon: 290,000 units OM Digital: 200,000 units Panasonic: 180,000 units Source: https://dclife.jp/camera_news/article/etc/2025/0902_01.html

Another passionate videographer! Welcome to the forum! I'm sure you'll find many familiar names from WP who have moved to our new home. Ciao

Thanks @Dave_Hicks

We were all holding our breath 😂

This video really struck me. For the imagination and the technique used. Until now, I hadn't seen underwater videos generated by A.I. that were not just convincing, but even interesting. Bravo!! Edit: I'm sad for those lens underwater 😛 When fashion holds its breath... 🌊 Several meters deep,...When fashion holds its breath... 🌊 Several meters deep, fashion claimed the ocean floor. Submerged catwalks between corals and shipwrecks, silhouettes moving through the silence of the abyss, under

Hi Glenn! First of all, welcome to the forum! You're exploring two worlds. The red pill or the blue pill? Whatever your questions may be, you'll find plenty of passionate people ready to give you the answers you're looking for, and of course, your contributions are also extremely valuable to our "little" community. Ciao

Chris, do you have the 45mm to test it? 😈 @shokwaav how is the weight and trim while using it? Does it need a float? Thanks

Yes, yes, we are saying the same thing, but the devil is in the details. If you choose a spot that's already white or very, very close to it, you won't get any result or only a minimal change, even if the image is clearly unbalanced. This might seem like a small detail, but it's actually a common mistake that I've also made often. It's easy to fall into this trap if the image has heavily overexposed parts (blown-out highlights). If you use the eyedropper on them, they're already with an RGB value of 255,255,255, There is no color information in those pixels; they are simply the maximum light intensity the camera could record. In this situation, the software has no data to process; there are no colors to analyze, only the maximum brightness value. There's nothing to correct. The point is already "pure white" by definition, even if it's chromatically unbalanced. The software doesn't have a "color" to start from to make a calculation and balance the other colors. Classic examples in our uw footage are white tanks, lights, etc. That are easily overexposed. In fact, in the short you posted, the white (that he knows should be white) on his color checker registers as gray (238,238,238). He clicks on it, and the software uses it as a white reference and shifts the entire palette accordingly. At the beginning of the video, for a short moment, in the full frame, you can see a spot light on the left that is pure white (blown out). Why didn't he pick that one? For the above reasons. P.S. In the past I saw some videos of that guy. Good content.

Hi Eric, Welcome to the forum. We have a Classified forum: https://waterpixels.net/forums/forum/36-classifieds/ Please, read the pinned post with basic rules. My best wishes for your fathhler and good luck with the sales.

Infact you are not selecting a white area. You are selecting an are supposed to be white

Follow us for more tips on how to waste your bank account 😁 Usually (usually) the problem is the springs of the buttons don't hold the pressure and they get pushed down, making the whole thing unusable. Anyway, grab a nice reel, attach the housing and a small weight and do it from the boat. Just fill the housing with absorbent paper and check it after the dive.

I'm sorry if I'm being a nitpicker but I'm not sure if I understood correctly, or there's an important mistake in the explanation. If you click on an area that is already white (RGB: 255, 255, 255), the software does absolutely nothing. White is white. The WB (White Balance) function is on the "Color" page. Once you select the "eyedropper" tool, you have to look for an area in your image that you know should be white, but in your picture, you see it as another color, aka with a color cast. By clicking on it, you are telling the software to adjust the color palette so that that area becomes white. This operation usually requires more than one attempt on different areas, and if you don't get a perfect result, you then use other tools.

Which depth? How many Lumen has your light? I mean, if your light is too weak for the environment conditions (shallow, tropical, green water) you find yourself in what we call "mixed light conditions". IIRC. we have several topic on different subforum on this topic, but I strongly suggest to get a cup of coffee 😉 and read this long format article by @bghazzal which summarized everything (and has links to original topics): https://waterpixels.net/articles/articles_technique/afterhours-magic-ambient-light-video-workflow-for-action-cameras-r161/ Regardless of the suggested solutions, the article describes very well what happen underwater in the different conditions. Of course, the above links on the tools in this thread are valid.

1ft cable? You have a lot of space inside. In my GH5 I have the original Nauticam (maybe 15cm) and it's nearly too long. Could you post the Amazon Link? From Italy I can't find it. Thanks for the feedback

If you aren't like me 🙃 https://waterpixels.net/forums/topic/1650-rtfm-read-the-f-manual/ Joking apart, I have big hands and I'm not able to remove its hard cap either...

Everything is ok now

Hi Nando, I'm on vacation, I'm on the phone and I haven't a desktop with Davinci Resolve with me so I can't work on them for the next week. BTW as I wrote this has nothing to do with the article's topic. Here we are discussing mainly about having a neutral image modified by a filter in ambient light or with mixed ambient light with blue filters on the lights. You have clips shot with only artificial lights with two different color profiles. A completely different matter. Could we discuss this in another thread on the forum? You could open a new thread or just using one of the already opened threads on the compact sub-forum. Just a comment: a log file should go through a CST (color space transform) node. If you are using a custom log profile, I don't know how to handle it. I could just use the GP-LOG as input color and gamma profile. Did you do this step? Please move everything on the forum. Ciao

Well, they are cousin 😄 Chris said what I was about to tell you. That's why I asked my questions, and I didn't remember that you had bought an Insta Ace Pro 2. Yes, unless you have professional/cinema cameras that shoot in RAW (and even there you have to make some distinctions), we have much, much less possibility for correction with video clips compared to photos. This is why you need to get good images to start with, so you have to do as little work as possible on them later. To get this, you have two paths, which are also a bit like two philosophies (Blue pill vs Red pill) 😁 Optimize the camera settings to get images that are as close as possible to the desired final result so that once you download them, you can proceed with the desired editing and not much else. We could call this approach SOOC (Straight Out Of the Camera), and it's definitely the most popular trend on YouTube because it's the reason why so many people get into underwater photography and video with action cameras and their smartphones: film > edit > post or even film > post. Optimize the camera settings to get an image that is as neutral as possible because you plan a workflow to correct the clips in post-production. Since, as I said before, your options for editing are limited (respect to photography), You try to have a starting image that makes the next work easier. This is the classic way of working at all levels: from simple enthusiasts to blue-chip productions. Who is right? Probably no one! I prefer the second option, but I'm trying to hide that and be as impartial as possible in this explanation 😇 Really, it all depends on the results you want to get and the priorities and skills you have. If the goal is to come back from your dive, lie on a sun lounger, and immediately post your underwater adventures to your friends, that is, film > post, it's natural to follow the first path. But you have to be realistic about the level of results you can get. Many of us see beautiful Reels posted on social networks and are convinced that all you need to do is buy the same gear, dive in, and get those results. What's that meme series called? "Instagram vs. Reality"? When we're disappointed, we keep chasing the SOOC unicorn and run after the latest gadget model with that new feature they are missing. This is also a game played by manufacturers who release new models every year, like fashion collections. Be careful, I'm not saying that what we see is fake. It's just that many of those fantastic videos we see, are made in more than ideal conditions by people who very often do it for a living. Meanwhile, we use our GoPro for that "one week of vacation" in the Maldives where the water was green! I also want to add that in both paths, the people who get great results are those who know their camera settings very well and know all the fundamentals of photography perfectly. This is the only way to make the best use of the features and also the limits of these little beasts. Instead of chasing the latest gadget, we should often stop and study the basics of photography and color. Think of dividing the work on color into two big categories. One category is where you make your clip look normal, which means you correct obvious mistakes: it's too dark/light or has too much of one color. This is basically what you did. You had those greenish fish and you brought them back to a color that seems balanced and real to you. After you do this, the second category (which is completely optional) gives your clips a more personal look. After all, within certain limits, the perception of color is basically subjective. Another analogy on secondary correction (aka grading) is what most people do with their phones posting on IG: they apply filters. Regardless of the product, I find this simple explanation very good: Color Correction vs. Color Grading | What's the DifferenceDiscover the distinctions between color correction vs. color grading. Learn how each process enhances your footage. Get to know expert tips and techniques for achieving the perfect visual balance.