Davide DB

So another AOI UWL-03 happy user 🙂

Welcome aboard! looking forward to you contributions on the video forum then.

Nice video indeed. Bravo! I was there several time during the 90s. Le Grec/Sagonà, Togo and of course the Donator are still in my heart. And i still remember the giant groupers of the Gabiniere... Mediterranean Sea at his best! Did you use a wet lens on the Gopro?

Hi Andrei, Thank you for copying here a terrific thread from WP era that probably would be irremediably lost. I pinned it. I cannot see the original WP post so maybe I'm missing something: could you explain the method you used to analyze the images? What do that numbers mean? For example: 7700K +77M Thank you in advance

Updated with correct image and I've updated the pinned post

Yes, AFAIR the lens is moved away a bit and there's small aperture on the side. On this video is clearly visible on the instructions and the mount itself. I wonder if the original AOI mount works with the full resolutions/ aspect ratio of the latest gopros: 5K and 8:7 while the Backscatter mod doesn't work as per several feedbacks.

This is the page for their rebranded AOI lens kit. Down to the page you can see the slide-in filter. Maybe you can understand the differencies between you kit and that. Ad you can see that filter is just a cutout of a circular filter. https://www.backscatter.com/Backscatter-GoPro-Action-Cam-Sharp-Wide-Lens-Pro

Actually I think it would be very easy to cut a rectangular slice from an existing circular filter. IIRC the Backscatter filters are just the central sections of circular filters...

Congratulations on the article! After all the endless technical discussions, it was much needed. It's like a breath of fresh air. Well done! I wish there was more discussion of the 'artistic' aspects of composing an image. Static or moving Images. Once the radius and entrance pupil are perfect and we have made peace with the edges, does it all end or is there still room for composition, camera angle and patience for the perfect moment? It is common to accompany published shots with technical data: aperture, shutter speed, etc., but almost nothing is known about the photographer's choices, which are the most important and define 'the photo'. It almost seems as if it is an unmentionable secret and that it is rude to ask the photographer "how did you do it?". A disrespect to him. "I took it because I am good at it" seems to be the implied and annoyed reply. Yet, between the immeasurable talent and the skill of the craftsman, in my opinion there are immensely large spaces that could be discussed here. Which is then what is taught in photography courses once the fundamentals are established: The language of photography.

Log story shorth: the UR-Pro footage SOOC seems better but I like your quick grading of the Magic filter. Searching for UR-Pro on the Web I see a lot of results. Are all inventory stocks? Remain the fact that for the AOI lens you would need a gel version and I've never seen it.

So this AOI lens has the best quality/price ratio. It should considered a default for anyone using an action cam underwater.

If someone has the opportunity to test it, I will add it to our "proven parts list".

Thanks. I will add to our list

The clip is so badly damaged that it is difficult to save it. The pink cast is terrible. As Ben wrote, you should start over and start on Resolve with a WB on a spot that is presumably white. Try sand. Do several trials on different spots and once you find an acceptable compromise, start with the adjustments.

Does it work by pressure?

A7RV max sync speed should be 1/250. Maybe @TURTLE-Balage may comment?

Sorry I don't agree with this. For video I have talked about it so many times. A nose-up housing is the worst thing that can happen: it requires you to apply a force with your wrists that leads to unstable footage. A photo 'lasts' 1/60 of a second while a video shot even 30 seconds. Regarding weight I give an example for my GH5 with a 6" polycarbonate dome. (very light). The housing. without lights or flash is practically neutral but totally unbalanced with the nose upwards creating huge problems for video. To get it back to a correct trim, I had to add a 700 gram collar. Now the camera is trimmed but very heavy so I had to add the floating arms. In short, a dog biting its own tail! With the WWL-1B everything is more stable and neutral by default. P.S. Probably with a crystal dome the problem is less extreme, but I think you are talking about domes larger than 6".

Here they are: https://www.amazon.it/Concept-Anti-perdita-Confezione-Sottovuoto-Compatibile/dp/B0CYSLBQKS/ref=sr_1_9

Hi Justin, I can confirm that this cheap generic M67 cap bought on Amazon last year for a Yashica vintage lens, fits perfectly on my M67 Nauticam CMC-2... https://www.amazon.it/Ares-coperchio-obiettivo-copriobiettivo-Fujifilm/dp/B078178P8W/ref=sr_1_3_sspa The only "flaw" for our use case is that it does not have a hook for a lanyard but I am sure you can find it on Amazon.

All shy? No one has any photos taken with this focal length? 😎

Hummm Who uses a fisheye for filming? No professionals unless in special cases. WWL and WACP are comparable to rectilinear lenses because the distortion is slightly noticeable and practically imperceptible.

I found this very interesting https://www.eoshd.com/news/nikon-z6-iii-lands-with-video-aplomb-but-only-partial-excitement-for-photographers/

Apart from the fact that finding reliable reviews on social media is a bit like looking for a unicorn 🙂 In my opinion, one has to distinguish between use cases. Shooting on land and shooting underwater are two completely different worlds. It has often happened that very good cameras on land were terrible or mediocre underwater.

24.5 megapixel partially stacked CMOS sensor for exceptional image quality Expeed 7 processor, from the Nikon Z8 and Z9, enhances power and speed 8 stops with 5 axis IBIS + 8.0 stops VR and focus point VR for improved sharpness Offers high-speed performance, capable of up to 120 fps in stills and 240p in video Excels in low light with -10EV AF sensitivity for sharp focus in dim conditions 13+ stops of dynamic range, with ultra-fast data readout for capturing detail Supports 4K and 6K RAW in-camera recording for high-quality video capture 240p slow motion capability for dramatic, detailed 10x slow-motion footage Compatible with N-RAW and ProRes codecs for professional-grade video editing 6K oversampling for 4K UHD video ensures an enhanced, high-quality final image Subject-tracking technology accurately focuses on people, animals, and vehicles 3D tracking precisely follows fast-moving subjects like birds, motorbikes, and planes Dual card slots support CFexpress Type B or XQD and UHS-II SD memory cards EVF maintains a 60 fps refresh rate for a smooth view during shooting and playback Pro-quality audio is enhanced by an external mic input suitable for line-level recording 5760K dot hi-res LCD, 4000-nits EVF with DCI-P3 colour gamut and daylight brightness High-resolution vari-angle display with 2100k resolution for flexible shooting angles A sealed body for weather resistance able to operate in temperatures as low as -10°C https://www.bhphotovideo.com/explora/videos/photography/versatility-is-king-with-the-nikon-z6-iii

Which depth? Here in the Med with medium viz I was able to get consistent results up to 10 meters. I can MWB up to 20 meters but with unpredictable results: the camera performs MWB easily but colors are completely off. Tons of greens. The camera probably sets the colour temperature to the maximum of its scale (even if it is insufficient) and gives a positive response to the user. Unfortunately, Mediterranean water (and it also depends on where) is completely different from tropical water (and it also depends on where) so the results are not at all comparable. Below 20 meters the only decent clips I saw were shot in RAW (Canon C300 MKII, another planet). Maybe @lutfu tried with his GH5 in the eastern Mediterranean which has very clear water.