Davide DB

Exactly. Which monitor did you get in the end?

The monitor is a very important accessory for underwater video. Of course, one can do without it. I myself did not have it for years and still brought it home. But if you want to improve, the monitor becomes indispensable. It is a matter of efficiency, maximum result with minimum effort. As I wrote some time ago: Shooting video underwater without an external monitor severely limits the ability to edit the image composition and in some cases it is simply impossible to shoot certain footage without damaging the underwater life around. This is the pure and simple reality. All underwater monitors on the market are field monitors housed in a case. Most are sold as one piece except Nauticam and Marelux who sell very expensive housings for very expensive Atomose SmallHD monitors and recorders. Staying with monitors, I believe you can save money and get excellent results with a one piece monitor and housing without spending a fortune on an Atomos Shinobi. I have for years had a 5" Hugyfot monitor that is nothing more than a boxed Feelworld monitor. It has only 400 nits of brightness. Very little for sunny tropical surface waters. Yet until yesterday they were all like that and we survived. BTW the new generation of field monitors are all at least 1000 nits. for land shooting I have a Chinese Osee T5+ monitor and it's really fantastic. Beautiful colors, bright, perfectly visible under the sun and lots of features. wish I could bring with me underwater. Be careful because over 1000 nits they have a fan and get hot and noisy. Factors to consider: Weight in the water. A seemingly bulky housing has the advantage of weighing less in the water and creating fewer problems for kit trim. The routing of cables relative to one's housing. Actually, no one swim around with their monitor mounted like the Eiffel Tower on their housing, but sometimes the position of the bulkheads of the housing and monitor combined with the length of the cable make it difficult if not impossible to mount the monitor in the desired position. Maybe with the help of other members we can come up with a rough list of models currently available on the market! I'll start with an odd thing I noticed days ago.Some friends of mine use SUPE (Scubalamp) strobes with satisfaction, and I had seen that their new monitor was just introduced: https://scubalamp.com/products/um55-monitor Then yesterday by chance I came across a clone. Oh God I don't know who is clone of whom. https://fotocore.com/products/monitor-mr6 Both sites are missing very important information such as weight in water and there is not a shred of user manual.

One of our member @DAVIDE BRICCOLANI published recently a video shot with the iPhone 15 Pro on a deep dive:

Not to discourage your intentions but 60p is more than adequate, and in the long run the slow motion gets pretty boring. At 120 fps a normal reef scene is practically frozen. 120 fps is mainly used for very fast sports shots or to create special effects in very short moments. The smoothest movements are achieved with properly balanced, lightweight kit and the right posture in the water.

Out of curiosity, why do you need 120p?

Hi all, I'm looking for a 3D printind file for a Nauticam N85 port housing cap and a N85 port rear cap. Thank you in advance 😉

Wow sharp as a blade. Bravo

Link added

I'm not sure I understood these two points. Far be it from me to get into an FF/Crop sensor war 😇

Welcome aboard Ken!

Wow terrific idea! Would you share the files and instructions on this thread? I will add it on the opening post.

Less is more 😉

Nice shots indeed!

It's betterto upload photos in jpeg or png so it could be rendered.

Am I mistaken or does the 30 mm have maximum magnification practically on the surface of the port?

Could it depends on the lens and the critters size?

Do you mean you were on the same boat and you discovered it right now? 😄

Yes but sand is a separate issue. I've scratched several polycarbonate domes with neoprene covers too. Sand or salt particles on the cover inner part are polycarbonate worst enemy.

Ciao Pietro, welcome onboard!

Ciao Cris, Welcome onboard!

Yes, I know. I was asking to know if other people had noticed these differences in the water. On land there are not. Hence the explanation I gave myself. Maybe with a prime lens I could even fool the algorithm, but with a zoom there's no way. Thanks

Are you satisfied with the results? 😈

Hello Browni! Welcome aboard!

Yes I was remembering incorrectly: its FOV is 74.8 - 28.6°. The explanation I gave myself is that the 12-35 behind the dome keeps more or less the same FOV while the WWL changes in FOV significantly confusing the algorithm. Zoom or not you have no way to change the data with a native lens. I should check it again but IIRC The settings are disabled.

Really a deal breaker for me. I'm curious if this "gem" is a design failure on the A1 or applies to A7x line and cinema line FX. https://www.sony.com/electronics/support/articles/00120915 Edit: I see that latest FW update for FX3 added the possibility to view LUTs via HDMI with an endless caveat list: